{"id":8312,"date":"2023-05-25T00:00:00","date_gmt":"2023-05-24T23:00:00","guid":{"rendered":"https:\/\/instrid.sk\/uncategorized\/co-by-sme-neurobili-pre-peniaze-pyta-sa-robert-bresson-vo-svojom-bezutesnom-poslednom-filme\/"},"modified":"2023-05-25T00:00:00","modified_gmt":"2023-05-24T23:00:00","slug":"co-by-sme-neurobili-pre-peniaze-pyta-sa-robert-bresson-vo-svojom-bezutesnom-poslednom-filme","status":"publish","type":"post","link":"https:\/\/instrid.sk\/en\/archiv\/co-by-sme-neurobili-pre-peniaze-pyta-sa-robert-bresson-vo-svojom-bezutesnom-poslednom-filme\/","title":{"rendered":"\u010co by sme neurobili pre peniaze? P\u00fdta sa Robert Bresson vo svojom bez\u00fate\u0161nom poslednom filme"},"content":{"rendered":"<p><strong>\u201eOh, peniaze, vidite\u013en\u00fd Boh, \u010do by sme pre v\u00e1s nespravili?\u201d Franc\u00fazsky re\u017eis\u00e9r Robert Bresson vo svojom poslednom filme L\u2019Argent (Peniaze) z roku 1983 adaptoval prv\u00fa \u010das\u0165 dvojdielnej novely Falo\u0161n\u00fd kup\u00f3n rusk\u00e9ho spisovate\u013ea Leva Nikolajevi\u010da Tolstoja. K\u00fdm Tolstoj v druhej \u010dasti pon\u00fakol hlavnej postave vyk\u00fapenie, Bresson kon\u010d\u00ed pesimistick\u00fdm a bez\u00fate\u0161n\u00fdm poh\u013eadom na svet.<\/strong><\/p>\n<h3>L\u2019Argent &#8211; Peniaze (1983)<\/h3>\n<p>Robert Bresson nebol nepochopen\u00fd a neprestajne frustrovan\u00fd umelec ako Orson Welles, nebol v exile, nebol prenasledovan\u00fd \u010di opakovane v\u00e4znen\u00fd ako Sergei Parajanov a nezomrel tragicky v mladosti ako Jean Vigo. V\u00e4\u010d\u0161inou sa mu darilo robi\u0165 filmy, ak\u00e9 chcel, do\u017eil sa takmer sto rokov a pod\u013ea \u0161tandardn\u00fdch kult\u00farnych konsenzov sa zaradil medzi <strong>popredn\u00fdch umelcov dvadsiateho storo\u010dia<\/strong>. <em><strong>\u201eBressona st\u00e1le pova\u017eujem za najlep\u0161ieho film\u00e1ra v\u0161etk\u00fdch \u010dias. Bezhrani\u010dne obdivujem ka\u017ed\u00fd jeho z\u00e1ber, ka\u017ed\u00fd moment v jeho sn\u00edmkach,\u201d<\/strong><\/em> vyhl\u00e1sil raz franc\u00fazsky film\u00e1r Olivier Assayas.<\/p>\n<p>Bressonove filmy vy\u017eaduj\u00fa od publika <strong>vysok\u00fd stupe\u0148 pozornosti<\/strong>, div\u00e1ci si z nich zvykn\u00fa ve\u013emi prec\u00edzne pam\u00e4ta\u0165 ve\u013emi <strong>konkr\u00e9tne detaily<\/strong>, napr\u00edklad zvuk zur\u010diaceho potoka \u010di zatv\u00e1ranie dver\u00ed. Ich tempo a zameranie s\u00fa hypnotizuj\u00face. <em><strong>\u201eNepok\u00fa\u0161am sa o v\u00fdraz gestom, slovom alebo mimikou, ale o v\u00fdraz rytmom a kombin\u00e1ciou obrazov, ich umiestnen\u00edm, prepojen\u00edm a po\u010dtom,\u201d<\/strong><\/em> povedal Bresson o svojom z\u00e1mere: <em><strong>\u201cFilmy budujem na bielej farbe, tichosti a nehybnosti.\u201d<\/strong><\/em><\/p>\n<p style=\"text-align: center;\"><em><strong>L&#8217;Argent (1983)<\/strong><\/em><\/p>\n<h3>Forma a obsah<\/h3>\n<p>Jeho sn\u00edmky v\u0161ak znamenaj\u00fa ove\u013ea<strong> viac ne\u017e len experimentovanie s formou<\/strong>. Tv\u00e1re, ktor\u00e9 ukazuje, s\u00fa pln\u00e9 utr\u00e1pen\u00e9ho prahnutia a odu\u0161evnenej t\u00fa\u017eby, ruky sa neust\u00e1le h\u00fdbu. Ako raz povedal \u010fal\u0161\u00ed film\u00e1r Philippe Garrel, vyjadruje to <em><strong>\u201emanu\u00e1lnu pr\u00e1cu podvedomia\u201d<\/strong><\/em>. Bresson bol hlboko zakorenen\u00fd <strong>formalista<\/strong>, no pravidl\u00e1, ktor\u00e9 si s\u00e1m zaviedol, a striktn\u00fd pr\u00edstup k nakr\u00facaniu ka\u017edej sc\u00e9ny <strong>zv\u00fdraznili podstatu a emocion\u00e1lnu h\u013abku<\/strong> jeho pr\u00edbehov, nie naopak.<\/p>\n<p>V\u00e4\u010d\u0161ina Bressonov\u00fdch filmoch rozpr\u00e1va rovnak\u00fd z\u00e1kladn\u00fd pr\u00edbeh: <strong>cestu jednotlivca od uv\u00e4znenia k slobode<\/strong>. T\u00e1to zdanlivo jednoduch\u00e1 os m\u00e1 viacero \u00farovn\u00ed. Najlep\u0161\u00ed odborn\u00edci na Bressona, napr\u00edklad franc\u00fazsky kritik Andr\u00e9 Bazin, u\u017e desiatky rokov poukazuj\u00fa na <strong>n\u00e1bo\u017eensk\u00e9, spiritu\u00e1lne a existenci\u00e1lne aspekty<\/strong> jeho aleg\u00f3rie:<strong> \u013eudia sa rodia v hriechu a s probl\u00e9mami a poku\u0161eniami na ka\u017edom kroku id\u00fa za rozhre\u0161en\u00edm alebo transcendentnos\u0165ou<\/strong>. V posledn\u00fdch troch filmoch &#8211; Lancelot od jazera (1974), Pravdepodobne diabol (1977) a Peniaze (1983) &#8211; prevl\u00e1da in\u00e1, temnej\u0161ia predstava: <strong>ponur\u00e1 v\u00edzia spolo\u010dnosti<\/strong> ako pekeln\u00e9ho v\u00e4zenia bez vidite\u013enej cesty na \u00fatek, nebodaj n\u00e1deje na vyk\u00fapenie.<\/p>\n<p>Sn\u00edmka Peniaze m\u00e1 spolo\u010dne s dvoma z predch\u00e1dzaj\u00facich Bressonov\u00fdch filmov Ods\u00faden\u00fd na smr\u0165 utiekol (1956) a Vreck\u00e1r (1959) <strong>n\u00e1znaky \u017e\u00e1nra ak\u010dn\u00fd triler<\/strong>. \u00datek z v\u00e4zenia, l\u00fape\u017e\u2026 v L\u2019Argent je s\u00e9ria krimin\u00e1lnych \u010dinov, najm\u00e4 <strong>hyperminimalistick\u00e9, eliptick\u00e9 zobrazenie nevydarenej bankovej l\u00fape\u017ee<\/strong>. T\u00f3n tejto sn\u00edmky a usporiadanie jej obsahu a formy s\u00fa v\u0161ak <strong>jedine\u010dn\u00e9 aj v r\u00e1mci Bressonovej tvorby<\/strong>.<\/p>\n<p>L\u2019Argent m\u00e1 netradi\u010dn\u00fa \u0161trukt\u00faru, rozdelen\u00fa na dve nerovnomern\u00e9 \u010dasti. Prv\u00e1 hodina sleduje a\u017e <strong>\u0161tyri simult\u00e1nne dejov\u00e9 l\u00ednie<\/strong>, hoci je to menej ne\u017e vtesnal Tolstoj na necel\u00fdch p\u00e4\u0165desiat str\u00e1n. Tieto dejov\u00e9 l\u00ednie sa kri\u017euj\u00fa a zaka\u017ed\u00fdm to vedie k \u010fal\u0161\u00edm d\u00f4sledkom a komplik\u00e1ci\u00e1m. V\u0161etko od\u0161tartuje <strong>n\u00e1pad dvoch mlad\u00edkov pou\u017ei\u0165 falo\u0161n\u00e9 peniaze<\/strong>. Viac \u010dasu je venovan\u00e9ho Lucienovi, zamestnancovi vo fotopredajni, ktor\u00fd <strong>klame pol\u00edcii a pred s\u00fadom<\/strong>, aby zakryl fakt, \u017ee jeho <strong>zamestn\u00e1vate\u013e posunul falo\u0161n\u00e9 bankovky<\/strong> Yvonovi.<\/p>\n<h3>\u0164a\u017eoba sveta<\/h3>\n<p>Lucien a Yvon sa nakr\u00e1tko stretn\u00fa vo v\u00e4zen\u00ed a pr\u00e1ve <strong>Yvonov pr\u00edbeh je kostrou cel\u00e9ho filmu. Postupne strat\u00ed pr\u00e1cu, slobodu, man\u017eelku a die\u0165a<\/strong>, ktor\u00e9 zomrie po\u010das jeho pobytu za mre\u017eami. V z\u00e1vere\u010dn\u00fdch 24 min\u00fatach sa Bresson zameriava iba na Yvona a jeho stretnutie so <strong>\u201e\u017eenou s \u0161ediv\u00fdmi vlasmi\u201d<\/strong> a \u010fal\u0161\u00edmi obyvate\u013emi jej domu. Tieto dve postavy maj\u00fa <strong>najzvr\u00e1tenej\u0161ie puto<\/strong> v celej Bressonovej filmografii: ona sa oddala nekone\u010dn\u00e9mu odp\u00fa\u0161\u0165aniu bez oh\u013eadu na to, ak\u00fdch hrozn\u00fdch \u010dinov sa dopustil, a t\u00fdmto s\u013eubom mu d\u00e1va mo\u017enos\u0165, aby zavra\u017edil aj ju, \u010d\u00edm by r\u00fdchlo ukon\u010dil jej ka\u017edodenn\u00fa lopotu a miz\u00e9riu.<\/p>\n<p style=\"text-align: center;\"><em><strong>Yvon a \u201e\u017eena so \u0161ediv\u00fdmi vlasmi&#8220;<\/strong><\/em><\/p>\n<p><strong>V\u0161etko sa skon\u010d\u00ed zle a krvavo<\/strong>, nie v\u0161ak sk\u00f4r, ako pre\u017eijeme <strong>hlbok\u00e9 momenty p\u00f4vabu v jednoduchosti<\/strong>, ke\u010f Yvon pom\u00e1ha svojej novej spolo\u010dn\u00ed\u010dke vyve\u0161a\u0165 pr\u00e1dlo a ke\u010f ober\u00e1 orechy zo stromu. Toto je, samozrejme, zobrazen\u00e9 pohybom r\u00fak. N\u00e1dhern\u00fdm, zelen\u00fdm, jednoduch\u00fdm obrazom mu\u017ea a \u017eeny oberaj\u00facich lieskovce zo stromu nevysiela Bresson \u017eiadny odkaz. Chce upriami\u0165 na\u0161u pozornos\u0165 na <strong>nekone\u010dn\u00e9 paradoxy, sily v spolo\u010dnosti a \u013eudsk\u00e9 impulzy<\/strong>, prostredn\u00edctvom ktor\u00fdch na\u0148ho aj na n\u00e1s dolieha <strong>\u0165a\u017eoba sveta.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Zdroje: criterion.com, deepfocusreview.com, csfd.cz<\/strong><\/em><\/p>\n<p><em><strong>Zdroj titulnej fotografie a fotografi\u00ed v texte: screenshoty, YouTube<\/strong><\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>\u201eOh, peniaze, vidite\u013en\u00fd Boh, \u010do by sme pre v\u00e1s nespravili?\u201d Franc\u00fazsky re\u017eis\u00e9r Robert Bresson vo svojom poslednom filme L\u2019Argent (Peniaze) z roku 1983 adaptoval prv\u00fa<\/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-8312","post","type-post","status-publish","format-standard","hentry","category-archiv","two-columns"],"_links":{"self":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts\/8312","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=8312"}],"version-history":[{"count":0,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/posts\/8312\/revisions"}],"wp:attachment":[{"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/media?parent=8312"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/categories?post=8312"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instrid.sk\/en\/wp-json\/wp\/v2\/tags?post=8312"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}