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<\/figure><\/div>\n\n\n\nA film t\u00f6rt\u00e9net\u00e9t az Aranypolg\u00e1r \u201ealvil\u00e1gi v\u00e1ltozat\u00e1nak\u201d is tekinthetj\u00fck. Wellest a figura megalkot\u00e1s\u00e1ban itt is a val\u00f3s\u00e1g ihlette. Ahogyan Kane polg\u00e1rt\u00e1rs, \u00fagy Mr. Arkadin is a \u201emodern vil\u00e1g egyik nagy kalandora\u201d \u2013 ak\u00e1rcsak maga a rendez\u0151. Orson Welles szerepeiben a j\u00f3 \u00e9s a rossz mezsgy\u00e9j\u00e9n billeg\u0151, fausti, karizmatikus, de esend\u0151 alakokat form\u00e1lt meg. A Bizalmas jelent\u00e9sben egyed\u00fcl az \u0151 karakter\u00e9ben \u00e9s meg\u00edt\u00e9l\u00e9s\u00e9ben k\u00f6vethet\u0151 v\u00e9gig \u00f6sszetett \u00e1talakul\u00e1s.<\/p>\n\n\n\n
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<\/figure><\/div>\n\n\n\nA film szerkezete megel\u0151legezi a \u201960-t\u00f3l indul\u00f3 modernizmust. Kiforgatja a mese morfol\u00f3gi\u00e1j\u00e1t. Azt a filoz\u00f3fiai k\u00e9rd\u00e9st veti fel, hogy megismerhet\u0151-e a val\u00f3s\u00e1g. Tov\u00e1bb\u00e1 a film h\u0151sei \u00f6npuszt\u00edt\u00f3 karakterek, akik fokozatosan vesz\u00edtik el sorsuk felett az ir\u00e1ny\u00edt\u00e1st. Ugyanakkor a sz\u00e1nd\u00e9koltan \u00f6sszekusz\u00e1lt, titok-dramatikus ponyvat\u00f6rt\u00e9net er\u0151teljes temp\u00f3ja zs\u00fafoltan hat. A ritmustalanul \u00f6sszevarrt flashbackek hat\u00e1sa kontraprodukt\u00edvan elidegen\u00edt\u0151 lehet. Sokak szem\u00e9ben a film a dramaturgiai hi\u00e1nyoss\u00e1gai miatt, csup\u00e1n egy l\u00e1tv\u00e1nyos, \u00f6tletes, de befejezetlen remekm\u0171 maradt, amit maga a rendez\u0151 is cs\u00fafos buk\u00e1snak \u00edt\u00e9lt.<\/p>\n\n\n\n
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<\/figure><\/div>\n\n\n\nA gy\u00e1rt\u00e1s sor\u00e1n az \u00e1lland\u00f3sult anyagi megszor\u00edt\u00e1sok miatt, gyakorta sufnituning megold\u00e1sokb\u00f3l sz\u00fclettek r\u00f6gt\u00f6nz\u00f6tt brav\u00farok. A l\u00e1ngelme Welles maximalista \u00e9s prec\u00edz hozz\u00e1\u00e1ll\u00e1sa miatt, az 1954-ben elkezd\u0151d\u00f6tt, orsz\u00e1gokon \u00e1t\u00edvel\u0151 munk\u00e1latok, csak 1957-re fejez\u0151dtek be. Welles \u201erendk\u00edv\u00fcl finoman v\u00e1ltogatta a mont\u00e1zs \u00e9s a felv\u00e9telek hat\u00e1slehet\u0151s\u00e9geit\u201d (Kr\u00e1nicz Bence), aki az \u00e9rzelmek kifejez\u00e9s\u00e9hez kev\u00e9sb\u00e9, a gondolatok \u00e1br\u00e1zol\u00e1s\u00e1hoz \u00e9s artikul\u00e1l\u00e1s\u00e1hoz jobban \u00e9rtett.<\/p>\n\n\n\n
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<\/figure><\/div>\n\n\n\nAndr\u00e9 Bazin a francia \u00fajhull\u00e1m legnagyobb teoretikusa, Orson Welles els\u0151 alkot\u00f3i korszak\u00e1t (Aranypolg\u00e1r, Az Ambersonok ragyog\u00e1sa) \u201et\u00e1rsadalmi realist\u00e1nak\u201d nevezi, a Macbeth-et \u00e9s az Othello-t \u201eShakespeare ciklusnak\u201d mondja. A rendez\u0151 k\u00f6vetkez\u0151 st\u00edluskorszak\u00e1t, azaz A sanghaji asszony-t \u00e9s a Mr. Arkadin-t pedig az \u201eetikai sz\u00f3rakoz\u00e1sok\u201d jelz\u0151vel illeti. Ebben az ut\u00f3bbi, eur\u00f3pai korszak\u00e1ban Welles st\u00edlusa a detekt\u00edvreg\u00e9nyek konvenci\u00f3ira \u00e9p\u00fcl. \u00d6tletes formai \u00e9s ellentmond\u00e1sos t\u00f6rt\u00e9neti j\u00e1t\u00e9kokkal tel\u00edtett, ahol \u201ea mondanival\u00f3 komolys\u00e1ga a j\u00e1t\u00e9k l\u00e1tsz\u00f3lagos k\u00f6nnyeds\u00e9ge m\u00f6g\u00f6tt nyilv\u00e1nul meg.\u201d Itt a k\u00e9pmez\u0151 tagol\u00e1s\u00e1t \u00e9s a m\u00e9lys\u00e9gi kompon\u00e1l\u00e1st eredm\u00e9nyez\u0151 statikus hossz\u00fa be\u00e1ll\u00edt\u00e1sokat, a gyorsv\u00e1g\u00e1sos szekvenci\u00e1k, a k\u00f6zeli k\u00e9pkiv\u00e1g\u00e1sok t\u00fals\u00falya \u00e9s olykor dinamikus mozg\u00e1sok v\u00e1ltj\u00e1k. A nagy-tot\u00e1l k\u00e9pbe\u00e1ll\u00edt\u00e1sok eset\u00e9ben, kor\u00e1bban haszn\u00e1lt nagyl\u00e1tosz\u00f6g\u0171 optik\u00e1t is felv\u00e1ltotta egy enn\u00e9l szofisztik\u00e1ltabb f\u00e9nyk\u00e9pez\u00e9s. A szint\u00e9n nagyl\u00e1t\u00f3sz\u00f6g\u0171 optik\u00e1val megoldott (megn\u00f6vekedett m\u00e9lys\u00e9g\u00e9less\u00e9g\u0171), kis sz\u00f6geket bez\u00e1r\u00f3 pl\u00e1nv\u00e1lt\u00e1sok \u00e9s a f\u00e9lk\u00f6zeli vagy k\u00f6zeli k\u00e9pbe\u00e1ll\u00edt\u00e1sok az el\u0151t\u00e9r er\u0151s l\u00e1tv\u00e1ny\u00e1n t\u00fal, a h\u00e1tt\u00e9r kiemel\u00e9s\u00e9t is eredm\u00e9nyezt\u00e9k Welles Mr. Arkadin-ja eset\u00e9ben. Ett\u0151l a filmt\u0151l kezdve a rendez\u0151 szinte kiz\u00e1r\u00f3lag a 18,5 cm-es optik\u00e1t haszn\u00e1lta, amely egyidej\u0171leg ny\u00fajtotta a k\u00e9pmez\u0151 m\u00e9lys\u00e9g\u00e9t \u201e\u00e9s a t\u00e9r elv\u00e1ltoz\u00e1s\u00e1nak impresszi\u00f3j\u00e1t.\u201d (Bazin) Paul Misraki k\u00f6nnyed szimfonikus zen\u00e9je pedig frapp\u00e1ns, repetit\u00edv dallamaival st\u00edlusosan k\u00f6veti a reg\u00e9nyes mes\u00e9t.<\/p>\n","protected":false},"excerpt":{"rendered":"
Szabadka\/2021.10.06. \u00cdrta, rendezte, v\u00e1gta \u00e9s a f\u0151szerepben, Orson Welles: Bizalmas jelent\u00e9s (Mr. Arkadin) francia-spanyol-sv\u00e1jci thriller, 1954-57 k\u00f6z\u00f6tt, 98p. \u201eA forrong\u00f3 It\u00e1li\u00e1ban megsz\u00fclethetett a renesz\u00e1nsz, m\u00edg a b\u00e9k\u00e9s \u00e9s rendezett Sv\u00e1jc csup\u00e1n a kakukkos \u00f3r\u00e1val...<\/p>\n","protected":false},"author":3,"featured_media":1490,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-1484","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/10\/244619800_10227914735355159_766682431323870186_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2021\/10\/244619800_10227914735355159_766682431323870186_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/rs\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1484","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/comments?post=1484"}],"version-history":[{"count":3,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1484\/revisions"}],"predecessor-version":[{"id":1493,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1484\/revisions\/1493"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media\/1490"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media?parent=1484"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/categories?post=1484"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/tags?post=1484"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}