{"id":1719,"date":"2022-01-31T00:53:14","date_gmt":"2022-01-31T00:53:14","guid":{"rendered":"https:\/\/radio-newyork.com\/?p=1719"},"modified":"2022-01-31T00:53:16","modified_gmt":"2022-01-31T00:53:16","slug":"50-godina-kuma-filmcina-o-italomerickoj-mafiji-ili-najbolji-film-svih-vremena","status":"publish","type":"post","link":"https:\/\/radio-newyork.com\/?p=1719","title":{"rendered":"50 godina “Kuma”: Film\u010dina o italomeri\u010dkoj mafiji ili najbolji film svih vremena"},"content":{"rendered":"

50 godina “Kuma”: Film\u010dina o italomeri\u010dkoj mafiji ili najbolji film svih vremena<\/h2>\n\n\n
\"\"\/<\/figure>\n\n\n\n

Nastao po bestselleru Maria Puza, s Marlonom Brandom u glavnoj ulozi patrijarha obitelji Corleone, prvi dio sage od tri filma prikazuje dramati\u010dan portret uspona sicilijanskog klana i skorog pada s vlasti u Americi. Za\u0161to toliko voliko “Kuma” i nakon pola stolje\u0107a?Ameri\u010dka kinematografija sedamdesetih slovi za najproduktivniji i najkvalitativniji period, kada nastaju brojni naslovi koji su sna\u017enim pri\u010dama mijenjali, ne samo dru\u0161tvo nego i tokove svjetskog filma. Nijedan film nije promijenio Hollywood kao “Kum” (1972.) Francisa Forda Coppole i te\u0161ko da postoje ja\u010di prizor od Marlona Branda koji sa ru\u017eom zadjevenom u rever sakoa sjedi u svojoj fotelji i promuklim glasom izgovara neke od najcitiranijih re\u010denica iz historije filma.<\/p>\n\n\n\n

Kada se pojavio 1972. godine, “Kum” je postavio temelje mafija\u0161kog \u017eanra, a imao najbolju mogu\u0107u gluma\u010dku podjelu. Karijerni status tada su zape\u010datili Al Pacino, James Caan, Talia Shire, Diane Keaton i Robert Duvall, a s drugim dijelom trilogije i mla\u0111ahni Robert De Niro, koji je u najuspje\u0161nijem nastavku svih vremena “Kumu 2” igrao Vita u mladosti.FILMSKI VREMEPLOVPro\u0161lo je 45 godina od kultnog “Kuma 2”, najboljeg nastavka nekog filma svih vremena<\/a><\/p>\n\n\n\n

Ovo remek-djelo dobilo je deset nominacija za Oscare, a osvojilo je tri presti\u017ena zlatna kipi\u0107a, uklju\u010duju\u0107i i onaj za najbolji film. U historiji filma, reklo bi se slikovitim kolokvijalnim izrazom bez ikakve veze s filmologijom – nema dalje.<\/p>\n\n\n\n

\"Al
Al Pacino kao Michael Corleone u filmu “Kum”<\/figcaption><\/figure>\n\n\n\n

Dr\u017ei prijatelje blizu, neprijatelje jo\u0161 bli\u017ee<\/strong><\/p>\n\n\n\n

Glava jedne od pet najmo\u0107nijih njujor\u0161kih mafija\u0161kih obitelji don Vito Corleone (Marlon Brando) pripada krugu posljednjih tradicionalista: jo\u0161 uvijek vjeruje u va\u017enost porodice, odanost i po\u0161tovanje, jer zna da \u0107e se svaka organizacija “u kojoj ima neka trula vo\u0107ka” ubrzo raspasti po koruptivnom metodu, iznutra. Odanost se posti\u017ee \u010dinjenjem usluga i rje\u0161avanjem problema onima koji mu se povjere \u0161aptom na uho, a poljubac u njegov prsten je samo simboli\u010dno priznanje \u017eivotnog duga.<\/p>\n\n\n\n

Pri\u010da po\u010dinje tako \u0161to don Vito Corleone, nadgleda vjen\u010danje svoje k\u0107eri sa suprugom Carmelom. Njegov voljeni sin Michael (Al Pacino) upravo se vratio iz rata. Balansiran izme\u0111u Corleoneove predanosti porodici i ru\u017enog kriminalnog biznisa u kojem su anga\u017eirani, ne namjerava postati dio o\u010devog posla. Me\u0111utim, nadolaze\u0107i suparnik \u017eeli po\u010deti prodavati drogu u New Yorku i treba mu donov uticaj kako bi ostvario svoj plan. Sukob starosvjetskih vrijednosti dona i novih na\u010dina, zahtijevat \u0107e visoku cijenu, posebno od Michaela, a sve za dobrobit obitelji, \u010diji je svaki \u010dlan pro\u0107i kroz rasplet situacije nepo\u0161te\u0111en u\u017easnih posljedica.<\/p>\n\n\n\n

\"\"\/<\/figure>\n\n\n\n

Hipnotiziraju\u0107i sonudtrack Nina Rote zaokru\u017eio je pri\u010du o dezintegraciji porodice koja je uspostavila vlastita pravila u besprizornom boga\u0107enju i koja mafija\u0161kim principima \u017eeli odr\u017eati \u010distu savjest.<\/p>\n\n\n\n

“Pitao sam Boga da mi da bicikl. A onda sam shvatio da Bog ne funkcionira po tom principu. Ukrao sam bicikl, a onda sam ga molio za oprost”, re\u010denica je koju izgovara Michael Corleone, poga\u0111aju\u0107i u sr\u017e moralne i politi\u010dke krize jednog dru\u0161tva potonulog u korupciju.<\/p>\n\n\n\n

“Kum” je pokazao kako funkcionira vlast i pravosu\u0111e, ali i svijet zabave, prevashodno preko scene sa holivudskim producentom i glavom njegovog konja, s kojom se budi u krvavom krevetu. On je, naime, “dobio ponudu, koja se ne odbija”.<\/p>\n\n\n\n

Nakon pedeset godina film je lijepo ostario, a potreba da se gleda i dalje s jednakim ushi\u0107enjem, dovoljno govori o njegovoj kvaliteti. Rijetko koji film uspije imati takve glumce, izvrstan scenarij, re\u017eiju, estetiku kadra, kao i soundtrack. Paramount je povodom njegove 50. godi\u0161njice objavio novi trailer, koji \u0107e sasvim sigurno privu\u0107i i pripadnike mla\u0111e generacije, one koji film nikada nisu vidjeli.<\/p>\n\n\n\n

Trivia s kojom obi\u010dno zavr\u0161avaju tekstovi o “Kumu” izbjegavaju navesti podatak da je konjska glava koja se pojavi u prvom filmu u krevetu filmskog producenta Jacka Woltza, koji odbije zahtjev porodice da dodjeli ulogu unuku don Corleonea u njegovom novom filmu, bila prava. Coppola je htio \u0161to realniju scenu i \u010dekalo se da neki od bolesnih konja s farme bude spreman za ono najgore. Ostalo je historija. Filmska historija.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nastao po bestselleru Maria Puza, s Marlonom Brandom u glavnoj ulozi patrijarha obitelji Corleone, prvi dio sage od tri filma prikazuje dramati\u010dan portret uspona sicilijanskog klana i skorog pada s vlasti u Americi. Za\u0161to toliko voliko “Kuma” i nakon pola stolje\u0107a?Ameri\u010dka kinematografija sedamdesetih slovi za najproduktivniji i najkvalitativniji period, kada nastaju brojni naslovi koji su […]<\/p>\n","protected":false},"author":2,"featured_media":1720,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1719","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"yoast_head":"\n50 godina "Kuma": Film\u010dina o italomeri\u010dkoj mafiji ili najbolji film svih vremena - Radio New York<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/radio-newyork.com\/?p=1719\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"50 godina "Kuma": Film\u010dina o italomeri\u010dkoj mafiji ili najbolji film svih vremena - Radio New York\" \/>\n<meta property=\"og:description\" content=\"Nastao po bestselleru Maria Puza, s Marlonom Brandom u glavnoj ulozi patrijarha obitelji Corleone, prvi dio sage od tri filma prikazuje dramati\u010dan portret uspona sicilijanskog klana i skorog pada s vlasti u Americi. 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Poznat po direktnom stilu, hrabrim komentarima i beskompromisnoj borbi protiv nepravde, Rastoder donosi glas zajednice koja se \u010desto ne \u010duje, ali itekako postoji. Vi\u0161e od dvije decenije aktivan je u zajednici i medijima, gdje kroz analize, autorske kolumne i dru\u0161tveni anga\u017eman povezuje iskustvo \u017eivota u Americi sa realno\u0161\u0107u Balkana. Njegove pri\u010de otvaraju va\u017ene teme \u2014 od identiteta i politike, do kulture, dijaspore i dru\u0161tvenih transformacija. Prepoznat je kao glas dijaspore koji govori ono \u0161to mnogi misle, ali rijetko ko ka\u017ee.","sameAs":["http:\/\/radio-newyork.com"],"url":"https:\/\/radio-newyork.com\/?author=2"}]}},"_links":{"self":[{"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/posts\/1719","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1719"}],"version-history":[{"count":1,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/posts\/1719\/revisions"}],"predecessor-version":[{"id":1721,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/posts\/1719\/revisions\/1721"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=\/wp\/v2\/media\/1720"}],"wp:attachment":[{"href":"https:\/\/radio-newyork.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1719"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1719"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/radio-newyork.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1719"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}