8. jun. 2012

Prometheus (2012)

Ocena: ●●●●●●○○○○

Sir Ridley Scott se je glede marsičesa podal po varno mainstreamovski komercialni poti svojih ameriških kolegov (denimo Zalivskega Mihe Spremenljivca) med hollywoodsko srenjo, četudi na znatno višji ravni: vsakokrat znova nas je vztrajno prepričeval, kako briljanten je po tehnično-vizualni kinematografski plati (kot da tega kdo še ne ve), a je to nedvomno vrhunsko izraznost (seveda bogato podprto z vse višjo produkcijsko vrednostjo) sčasoma kompenziral s čedalje večjim mankom (družbeno)kritične substance, sofisticirane sporočilnosti in žlahtne cineastične vsebine. Verjetno marsikdo že zavija z očmi — vendar bloga ne pišem zato, da bi komu lezel v rit z oportunistično dvoumno dobrotljivostjo, zatorej si mislite, kar hočete: Scottov najnovejši projekt Prometej, eden najtežje pričakovanih filmov leta 2012 (ter eno najbolj pričakovanih kot-da paralelnih oz. spin-off pred-nadaljevanj kakšne franšize) je v najboljšem primeru soliden, nikakor pa ne prelomen ali kakorkoli nadpovprečen sci-fi umotvor.

Sicer pa: je kdo res mislil, da bo drugače?

Prometej (gr. Προμηθεύς, 'vizionar', 'modrec') je v grški mitologiji eden od Titanov, ki je od bogov z Olimpa ukradel ogenj in ga v trsu prinesel ljudem. Za kazen ga je Zevs priklenil na skalo v Kavkazu, kjer mu je orel vsak dan izkljuval jetra, ta pa so mu čez noč spet zrasla. Mit simbolizira človekovo stremljenje po spoznanju božanske entitete (ali višje, znanstvene resnice), četudi s preveliko ambicioznostjo tvega božji srd in lasten propad.

Še enkrat poudarjam: vizualno in obče obrtniško gre nedvomno za poslastico, kakršnih smo od tega uveljavljenega britanskega režiserja že dolgo vajeni. Njegova kulta Alien (1979) in Blade Runner (1982) štejem med absolutno deseterico svojih najljubših filmov in si v tem smislu nisem obetal nič manj kot vrhunsko estetsko doživetje. (Pustimo za zdaj ob strani 3D inačico, o kateri se mi res ne ljubi razpravljati.) Tako kot vsem so se mi sline pocedile že ob viralnih spletnih napovednikih, a mi je cinični črv dvoma prišepetoval, naj ostanem na realnejših vsebinskih tleh. In ni se zmotil. (Moj me insekt nikad ne vara.) Trendovsko agresivna promocija in poudarjeno senzacionalistična pred-produkcijska trivia sta se vnovič izkazali (skoraj) obratno sorazmerni s končnim rezultatom.

Development on a fifth film in the Alien franchise was in progress by 2002. At the time, Scott was considering returning to the series he created with his 1979 science fiction horror film Alien, to pursue a sequel that would explore the engineered origins of the series' Alien antagonists, and the "space jockey" — the extraterrestrial being, who briefly appears in Alien, as the deceased pilot of a derelict spaceship. Alien star Sigourney Weaver also expressed interest in returning to the series. Aliens director James Cameron discussed the potential for a sequel with Scott, and began working with another writer on a story for the film. It was then that 20th Century Fox approached Cameron with a script for a crossover film that would pit the series' monsters against the titular characters of the Predator films; what would become the 2004 science fiction film Alien vs. Predator. After Fox confirmed that it would pursue the crossover, Cameron stopped working on his own project, believing the crossover would "kill the validity of the franchise". In 2006, Cameron confirmed that he would not return to the project, believing that the series was Fox's asset, and he was unwilling to deal with the studio attempting to influence the potential sequel.

In May 2009, Fox first reported the project as a "reboot" to the Alien franchise, which was soon afterwards expressed as a then untitled prequel to Alien. Development stalled in June 2009, when Fox clashed with Scott over his selection of former commercial director Carl Erik Rinsch as director. Fox was only interested in pursuing the project if Scott directed. By July 2009, Scott was attached to direct the film, and screenwriter Jon Spaihts was hired to pen the script based on his pitched idea for a direct Alien prequel. With both director and writer in place, and pleased with Spaihts' pitch, Fox scheduled a release date for December 2011, but this was eventually dropped. In June 2010, Scott announced that the script was complete and that pre-production would begin, with a filming date set for January 2011. However, by July 2010, Lindelof had been hired to redevelop Spaihts's screenplay into a more original work. In October 2010, Lindelof submitted his refined screenplay to Fox. The studio was pleased because it had contested Scott's proposed budget of $150—160 million and found Lindelof's screenplay to be more budget-conscious; Scott had initially requested a $250 million budget and an adult oriented product, but Fox was reluctant to invest this amount of money, and wanted to ensure the film would receive a lower age-rating to broaden the potential audience.

In December 2010, it was reported that the film would be called Paradise, but in January 2011, the title was confirmed as Prometheus. A release date was scheduled for March 9, 2012, but weeks later the date was pushed back to June 8, 2012. With the name confirmed, the production began to publicly distance the film from its Alien origins. The filmmakers were deliberately vague about the connection between the films, believing it would build audience anticipation for Prometheus. Scott stated that "while Alien was indeed the jumping-off point for this project, out of the creative process evolved a new, grand mythology and universe in which this original story takes place. The keen fan will recognize strands of Alien's DNA, so to speak, but the ideas tackled in this film are unique, large and provocative." In June 2011, Scott and Lindelof confirmed that Prometheus takes place in the same universe as the events of the Alien series. In July 2011, Scott stated that "by the end of the third act you start to realize there's a DNA of the very first Alien, but none of the subsequent films". —Wikipedia



Z razmeroma velikopotezno premiso o želji po odkrivanju "stvarnika" človeštva (tako pretenciozne zasnove pa imajo praviloma nasproten učinek) se loteva vesoljske odprave "na kraj zločina" (ne dobesedno, saj posadka pristane na planetni luni LV-223, ne na LV-426 oz. Acheronu iz izvirnika) ter katarzičnega razkritja resnice o artefaktu okostenelega Gigerjevega space jockeyja (ne, prav tega res ne bi bilo treba pojasniti, hvala lepa) in pradavne visoko razvite civilizacije "bogov", ki so z genetskim inženiringom ustvarili tudi usodni dejavnik lastnega propada. Nenasitno ambiciozni Peter Weyland (Guy Pearce) bi jih rad spoznal, da bi mu podarili ključ nesmrtnosti; kakor se ima tudi sam za "boga", ker je vdihnil življenje neživim nadomestkom ljudi,* denimo robotu Davidu (Michael Fassbender) in njegovemu artificielnemu (po vrsti osmemu) rodu. Za kakšno ceno? O tem se film posebej niti ne sprašuje. Raje se posveča megalomanski akcijski komponenti in (pre)visoko zastavljenim epskim dilemam, ki pa ob docela sterilnih in hladnih likih (pa ne zato, ker bi v satirični viziji prihodnosti človeškega čustvovanja taki tudi morali biti), začudoma tudi med nekaterimi nepričakovano klišejskimi in predvidljivimi zasuki (srepo gledam vaju, scenarista Jon Spaihts in Damon Lindelof), bolj ali manj izzvenijo v prazno — skupaj z vprašanji, na katera še v nedorečenem epilogu vendarle ni najti pravega odgovora. (Producenti tako že [previdno] obljubljajo nadaljevanje oz. vnovični zagon franšize v vsaj treh delih.) Je Scott nadgradil širše pomenski univerzum Osmega potnika, te fascinantne kritike brezčutno mehanske kapitalistične paradigme? Ne. (In to očitno tudi ni bil njegov namen.) Je z neverjetnim smislom za vizualne in pojavne podrobnosti, iz katerih sestavlja avtentičen kontekst človeških likov in njihovih strahov, tudi tokrat ustvaril otipljivo realno, praktično funkcionalno okolje? Ne bi rekel. No, mogoče; vendar me osebno še dandanes (prvi) Alien tozadevno veliko bolj prepriča.



100,000 BC: stone tools. 4,000 BC: the wheel. 900 AD: gunpowder — bit of a game changer. 19th century: eureka, the lightbulb! 20th century: the automobile, television, nuclear weapons, spacecrafts, Internet. 21st century: biotech, nanotech, fusion and fission and M-theory — and that was just the first decade! We are now three months into the year of our Lord, 2023. At this moment of our civilization, we can create cybernetic individuals, who in just a few short years will be completely indistinguishable from us. Which leads to an obvious conclusion: WE are the gods now.
(G) Drži, Prometej, ta Iztrebljevalec skozi oči Drevesa življenja, ni film o nastanku človeštva, marveč film o izvoru jebenega aliena, ki izgleda tako, kot da bi James Cameron režiral Odisejo 2001. Amen, Mary Shelly, avtorica Frankensteina, tega modernega Prometeja, se brez dvoma v grobu obrača od veselja. —Iztok

Scottov Prometej me (kot velikega ljubitelja žanra) sicer ni ravno razočaral, huronsko navdušil pa tudi ne. V dobro mu štejem dobro uravnoteženo razmerje med zavezanostjo (in nezgrešljivimi konceptualnimi pokloni) franšizi ter artikulirano arhetipsko zaokroženostjo, zaradi katere (celo za nepoznavalce) dovolj razumljivo deluje tudi kot samostojna zgodba. Celostno prinaša sila kratkočasen in nadvse spodoben, a v teh časih pričakovano nizkokaloričen filmski obrok, ki za nekaj časa prijetno poteši čute, možgani pa so kmalu po njem spet lačni. Visoka pričakovanja imajo pač svojo temno plat.
* Op. Ali ne bi bilo potemtakem bolj logično, da bi Weyland ustvaril robota po lastni podobi? Pravzaprav na to odkrito namiguje Bishop v epilogu Fincherjevega Aliena 3 (1992) — saj res, kje je tokrat Lance Henriksen? In zakaj so morali na Guya Pearcea (sicer odličnega igralca) navleči tisti gumijasti, patetični make-up, namesto da bi ga preprosto zaigral kakšen (njemu podoben) star igralec? Okej, bom raje nehal nergati, sicer bo naknadno moj vtis o filmu (še) slabši.

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