{"id":8252,"date":"2023-04-05T00:00:00","date_gmt":"2023-04-04T23:00:00","guid":{"rendered":"https:\/\/instrid.sk\/uncategorized\/le-doulos-nasilny-francuzsky-film-ktory-zmenil-kinematografiu\/"},"modified":"2023-04-05T00:00:00","modified_gmt":"2023-04-04T23:00:00","slug":"le-doulos-nasilny-francuzsky-film-ktory-zmenil-kinematografiu","status":"publish","type":"post","link":"https:\/\/instrid.sk\/en\/archiv\/le-doulos-nasilny-francuzsky-film-ktory-zmenil-kinematografiu\/","title":{"rendered":"Le Doulos: N\u00e1siln\u00fd franc\u00fazsky film, ktor\u00fd zmenil kinematografiu"},"content":{"rendered":"<p><strong>Franc\u00fazsky film Le Doulos v \u010dase svojho uvedenia v roku 1962 \u0161okoval. Preniesol prvky americk\u00e9ho film noiru do Par\u00ed\u017ea a pridal brutalitu. In\u0161piroval mnoh\u00fdch re\u017eis\u00e9rov od Martina Scorseseho po Quentina Tarantina, p\u00ed\u0161e port\u00e1l BBC Culture.<\/strong><\/p>\n<h2>Le Doulous (1962)<\/h2>\n<p>Sn\u00edmka Jeana-Pierra Melvilla osl\u00e1vila vlani \u0161es\u0165desiatku a na jednej strane predstavuje <strong>tvrd\u0161iu, surovej\u0161iu a autentickej\u0161iu<\/strong> \u010das\u0165 spektra krimin\u00e1lnych filmov, predov\u0161etk\u00fdm franc\u00fazskych krimin\u00e1lnych filmov. Na druhej strane je v\u0161ak <strong>porovnate\u013ene fantastick\u00fd<\/strong> &#8211; zobrazuje vysoko <strong>amerikanizovan\u00fd Par\u00ed\u017e<\/strong>, ak\u00fd pravdepodobne existuje len v Melvillov\u00fdch dielach. Melville je re\u017eis\u00e9r pln\u00fd rozporov a tak\u00e1 je aj jeho vych\u00fdren\u00e1 tvorba. Le Doulos v\u010faka svojim bohat\u00fdm protikladom <strong>predefinoval \u017e\u00e1ner a zanechal stopu<\/strong> v hist\u00f3rii kinematografie.<\/p>\n<p>Franc\u00fazske krimin\u00e1lne filmy sa rovnaj\u00fa Melville. Uk\u00e1zal sp\u00f4sob, ako m\u00f4\u017ee tento \u017e\u00e1ner fungova\u0165 na pl\u00e1tnach v krajine, ktor\u00e1 sa v tom \u010dase e\u0161te st\u00e1le <strong>vyrovn\u00e1vala s traumami druhej svetovej vojny<\/strong>. Ak\u00fd bol jeho recept na \u00faspech? V\u00fdstredn\u00fd <strong>mix americk\u00e9ho vplyvu a galsk\u00e9ho \u0161t\u00fdlu<\/strong>, ktor\u00e9ho v\u00fdsledkom je atmosf\u00e9ra <strong>rafinovanej brutality<\/strong>.<\/p>\n<h3>Sl\u00e1vny fan\u00fa\u0161ik<\/h3>\n<p><strong>Quentin Tarantino<\/strong>, jeden z najsl\u00e1vnej\u0161\u00edch obdivovate\u013eov Melvilla, sa filmom Le Doulos zjavne <strong>in\u0161piroval<\/strong> vo svojom celove\u010dernom re\u017eis\u00e9rskom debute Reservoir Dogs z roku 1992, minim\u00e1lne pokia\u013e o <strong>t\u00e9mu zrady<\/strong> a o <strong>brut\u00e1lny z\u00e1ver<\/strong>. \u201eMelville zobral Bogarta, Cagneyho a gangsterky Warner Brothers, \u010dasto si od nich len vzal pr\u00edbehy, obsadil do nich Belmonda, Delona \u010di Jeana Gabina a vd\u00fdchol im odli\u0161n\u00fd \u0161t\u00fdl. Jeho filmy sa chceli podoba\u0165 na americk\u00fdch kolegov, ale mali vlastn\u00fd rytmus,\u201d cituje Tarantina web bbc.com. Tento \u0161t\u00fdl sa stal <strong>nesmierne vplyvn\u00fdm<\/strong> najm\u00e4 z\u00e1sluhou Le Doulos.<\/p>\n<p style=\"text-align: center;\"><em><strong>Jean-Pierre Melville (v\u013eavo) a Jean-Paul Belmondo (vpravo). Zdroj: screenshot, YouTube<\/strong><\/em><\/p>\n<p>Melville, so svojou v\u00edziou <strong>bezn\u00e1dejnosti a par\u00ed\u017eskych trosiek<\/strong>, bol <strong>re\u017eis\u00e9rskym ekvivalentom hlavn\u00fdch post\u00e1v<\/strong> &#8211; <strong>sardonick\u00fdch osamelcov<\/strong>, ktor\u00ed <strong>odmietaj\u00fa podvoli\u0165 sa<\/strong> kompromisom. Kari\u00e9ru za\u010dal koncom \u0161tyridsiatych rokov a bol u\u017e pr\u00edli\u0161 star\u00fd na to, aby surfoval na Franc\u00fazskej novej vlne, ktor\u00e1 od\u0161tartovala o desa\u0165 rokov nesk\u00f4r na \u010dele s Francoisom Truffautom a Jeanom-Lucom Godardom. Nebol v\u0161ak ani \u010dlenom skor\u0161ieho modelu franc\u00fazskej kinematografie \u201eTradition de la qualit\u00e9\u201d s predstavite\u013emi Jeanom Renoirom a Marcelom Carn\u00e9m.<\/p>\n<p>Melvillove filmy sa vyzna\u010duj\u00fa <strong>chladnou a maskul\u00ednnou zdvorilos\u0165ou v kontraste s vypukl\u00fdm n\u00e1sil\u00edm<\/strong>, tak\u017ee s\u00fa nap\u00ednav\u00e9 a z\u00e1rove\u0148 existencialistick\u00e9. Britsk\u00fd spisovate\u013e Geoff Andrew vo svojej predn\u00e1\u0161ke v roku 2017 zd\u00f4raznil jeho unik\u00e1tnu poz\u00edciu na franc\u00fazskej sc\u00e9ne a odli\u0161nos\u0165 v porovnan\u00ed s priekopn\u00edkmi Novej vlny: <em><strong>\u201eMelville nebol realista, ale fabulista, moralista a \u0161tylista.\u201d<\/strong><\/em><\/p>\n<p>V sn\u00edmke Le Doulos prv\u00fdkr\u00e1t rozvinul svoju v\u00edziu naplno. N\u00e1zov je franc\u00fazsky <strong>slangov\u00fd v\u00fdraz pre klob\u00fak<\/strong>, ak\u00fd nosili vtedaj\u0161\u00ed krimin\u00e1lnici, podobn\u00fd klob\u00fakom gangsterov v skor\u0161\u00edch americk\u00fdch filmoch. Tento typ klob\u00faka <strong>zaha\u013euje tv\u00e1r do tie\u0148a<\/strong> a slovo sa stalo aj synonymom pre <strong>policajn\u00fdch inform\u00e1torov, pre \u013eud\u00ed, ktor\u00ed maj\u00fa \u010do skr\u00fdva\u0165.<\/strong><\/p>\n<h3>Zmenil si meno<\/h3>\n<p>Le Doulos zapo\u010dal Melvillovu <strong>zlat\u00fa \u00e9ru<\/strong>, po\u010das ktorej nato\u010dil klasiky ako <strong>Le Samourai, Arm\u00e1da tie\u0148ov a \u010cerven\u00fd kruh<\/strong>. Pr\u00e1ve \u201eklob\u00fak\u201d v\u0161ak zv\u00fdraz\u0148uje jeho dva najd\u00f4le\u017eitej\u0161ie body z\u00e1ujmu: <strong>hlbok\u00fa posadnutos\u0165 americkou kult\u00farou a typick\u00fa galsk\u00fa melanch\u00f3liu<\/strong>. \u201eBez americk\u00fdch filmov z tridsiatych rokov by som nenakr\u00facal filmy, nenakr\u00fatil by som Le Doulos,\u201d povedal Melville pre magaz\u00edn L&#8217;Avant-sc\u00e8ne cinema v roku 1963.<\/p>\n<p>N\u00e1klonnos\u0165 k <strong>amerikanizmu<\/strong> vyjadrovalo aj jeho meno, <strong>Jean-Pierre Grumbach si zmenil priezvisko<\/strong> na Melville pod\u013ea jedn\u00e9ho zo svojich americk\u00fdch spisovate\u013esk\u00fdch hrdinov <strong>Hermana Melvilla<\/strong> (Biela ve\u013eryba). Bola to len \u0161pi\u010dka \u013eadovca tohto vplyvu, ktor\u00fd najv\u00e4\u010d\u0161mi vidie\u0165 v Le Doulos, hoci v \u017eiadnom pr\u00edpade nejde o jedin\u00fd franc\u00fazsky film in\u0161pirovan\u00fd spoza Atlantiku.<\/p>\n<h3>Pesimizmus nikdy nevyzeral tak dobre<\/h3>\n<p><strong>Le Doulos in\u0161piroval<\/strong> cez oce\u00e1n opa\u010dn\u00fdm smerom, odvol\u00e1va sa na\u0148 napr\u00edklad <strong>Martin Scorsese<\/strong>. Pred nakr\u00facan\u00edm sn\u00edmky The Irishman (2019) ho premietol svojmu hlavn\u00e9mu kameramanovi Rodrigovi Prietovi. <em><strong>\u201eI\u0161lo mi o kontemplat\u00edvny t\u00f3n, mal to by\u0165 int\u00edmny ve\u013ekofilm. Uk\u00e1zal som mu Le Doulos a Le deuxi\u00e8me souffl\u00e9. Je to in\u00fd svet, no p\u00e1\u010di sa mi,\u201d<\/strong><\/em> uviedol Scorsese. Tarantino dodal k Reservoir Dogs: <em><strong>\u201eJe to ako filmy Jeane-Pierra Melvilla, Bob le flambeur a Le Doulos, ktor\u00fd m\u00e1 m\u00f4j najob\u013e\u00fabenej\u0161\u00ed scen\u00e1r v\u0161etk\u00fdch \u010dias. Hr\u00e1 tam Jean-Paul Belmondo, je to fantastick\u00e9.\u201d<\/strong><\/em><\/p>\n<p style=\"text-align: center;\"><em><strong>Jean-Paul Belmondo vo filme Le Doulos. Zdroj: screenshot, YouTube<\/strong><\/em><\/p>\n<p>Le Doulos patr\u00ed k skvel\u00fdm krimin\u00e1lnym filmom povojnov\u00fdch rokov. Retrospekt\u00edvne bol zlomom, ktor\u00fd znamenal posun \u017e\u00e1nra <strong>od melodr\u00e1my k chladnej brutalite. Pesimizmus na pl\u00e1tne odvtedy nikdy nevyzeral tak dobre. Mesto je nav\u017edy osamel\u00fdm a upr\u0161an\u00fdm miestom, kde \u010dak\u00e1 smr\u0165 a kde \u010d\u00edha zrada na ka\u017edom kroku.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Zdroj: vo\u013ene prelo\u017een\u00e9 z bbc.com<\/strong><\/em><\/p>\n<p><em><strong>Zdroj titulnej fotografie: screenshot, YouTube<\/strong><\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>Franc\u00fazsky film Le Doulos v \u010dase svojho uvedenia v roku 1962 \u0161okoval. Preniesol prvky americk\u00e9ho film noiru do Par\u00ed\u017ea a pridal brutalitu. In\u0161piroval mnoh\u00fdch re\u017eis\u00e9rov<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51],"tags":[],"class_list":["post-8252","post","type-post","status-publish","format-standard","hentry","category-archiv","two-columns"],"_links":{"self":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts\/8252","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/comments?post=8252"}],"version-history":[{"count":0,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts\/8252\/revisions"}],"wp:attachment":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/media?parent=8252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/categories?post=8252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/tags?post=8252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}