(Bori Erzs\u00e9bet, Filmvil\u00e1g 1997\/3)<\/p>\n\n\n\n
Az elm\u00falt f\u00e9l \u00e9vsz\u00e1zad brit t\u00e1rsadalmi konfliktusainak \u00e9s a munk\u00e1soszt\u00e1ly emancip\u00e1ci\u00f3j\u00e1nak realisztikus megjelen\u00edt\u0151je, a t\u00e9v\u00e9rendez\u0151k\u00e9nt edz\u0151d\u00f6tt, k\u00e9zikamer\u00e1s, AKTIVISTA Ken Loach rendez\u0151 eg\u00e9szen rendk\u00edv\u00fcli \u00e9letszer\u0171s\u00e9get teremt. Filmjeinek dramaturgi\u00e1j\u00e1t a val\u00f3s\u00e1g ide\u00e1ja alak\u00edtja. Eszt\u00e9tik\u00e1j\u00e1t is ez a kegyetlen\u00fcl \u00e9letszer\u0171, naturalista forma al\u00e1 rendeli. A filmm\u0171v\u00e9szet elbesz\u00e9l\u00e9s\u00e9nek aranyszab\u00e1lyai m\u00e1sodlagosak. T\u00f6rt\u00e9neteinek hitel\u00e9t a hasonl\u00f3 \u00e9lettapasztalattal rendelkez\u0151, ismeretlen amat\u0151r vagy f\u00e9lprofi karakterek jelentik. \u201eLoach sz\u00edn\u00e9szvezet\u00e9s\u00e9nek a spontaneit\u00e1s \u00e9s term\u00e9szetess\u00e9g el\u00e9r\u00e9s\u00e9t kiv\u00e1lt\u00f3 igaz\u00e1n hat\u00e1sos aspektusa abban rejlik, hogy b\u00e1r van k\u00e9sz forgat\u00f3k\u00f6nyv, a sz\u00edn\u00e9szek csak bizonyos inform\u00e1ci\u00f3kat kapnak, \u00edgy az \u00e9les felv\u00e9tel alatt nem tudj\u00e1k, pontosan milyen utas\u00edt\u00e1st kapott a m\u00e1sik. Ennek eredm\u00e9nyek\u00e9nt el\u0151re nem l\u00e1tott, val\u00f3di reakci\u00f3k ker\u00fclnek r\u00f6gz\u00edt\u00e9sre. \u2026 a kamera a cinema direct<\/em> \u00e1ltal k\u00e9pviselt megb\u00fav\u00f3 \u00e9s onnan k\u00edm\u00e9letlen\u00fcl szeml\u00e9l\u0151d\u0151, felfedez\u0151 szerepet t\u00f6lti be.\u201d (PAP)<\/p>\n <\/p>\n\n\n A l\u00e9nyeg az als\u00f3bb \u00e9s\/vagy perif\u00e9rikus t\u00e1rsadalmi r\u00e9tegek vagy a m\u00e9lyszeg\u00e9nyek korszellem\u00e9nek, k\u00f3rk\u00e9p\u00e9nek \u00e9rt\u0151 kibesz\u00e9l\u00e9se. Loach mindent tud a szeg\u00e9nys\u00e9gr\u0151l, munkan\u00e9lk\u00fclis\u00e9gr\u0151l, munk\u00e1sl\u00e9tr\u0151l \u00e9s a prolibecs\u00fcletr\u0151l. A dolgos, tisztess\u00e9ges emberek m\u00e9lt\u00f3s\u00e1g\u00e1nak \u00e9s \u00f6nbecs\u00fcl\u00e9s\u00e9nek pr\u00f3k\u00e1tora \u00e9s a szerencs\u00e9tlen, k\u00e9ts\u00e9gbeesett, \u00e1tvert vagy megt\u00f6rt, becstelen \u00e9s felel\u0151tlen sorsok ismer\u0151je. H\u00e9tk\u00f6znapi, t\u00f6bbs\u00e9g\u00e9ben pozit\u00edv h\u0151sei t\u00e1vol \u00e1llnak a romlotts\u00e1got, gy\u00e1moltalans\u00e1got \u00e9s butas\u00e1got \u00e1raszt\u00f3 ny\u00e1rspolg\u00e1ri vagy kispolg\u00e1ri nihilista karaktert\u0151l, de a t\u00f6bb-kevesebb hatalommal rendelkez\u0151 fels\u0151bb t\u00e1rsadalmi r\u00e9tegek felel\u0151tlens\u00e9g\u00e9t\u0151l is. Az igyekv\u0151, tev\u00e9keny, rokonszenves egy\u00e9nt vizsg\u00e1lja, a maga illuz\u00f3rikus \u00e9s eszk\u00f6ztelen mili\u0151j\u00e9ben, mik\u00f6zben \u00e9les f\u00e9ny der\u00fcl a rendszerhib\u00e1kra. A filmben kor\u00e1n megvil\u00e1g\u00edtott probl\u00e9ma kiv\u00e1lt\u00f3 okai k\u00f6z\u00f6tt a t\u00e1gabb t\u00e1rsadalmi k\u00f6zeg a meghat\u00e1roz\u00f3. \u201eMunk\u00e1in \u00e9rezhet\u0151 az angol dokumentarista iskol\u00e1t\u00f3l kezdve a Free Cinem\u00e1n \u00e1t az \u00fajhull\u00e1m \u00f6r\u00f6ks\u00e9ge is, azonban Loachn\u00e1l k\u00f6zponti szerepet j\u00e1tszik a rendszerellenes magatart\u00e1s \u00e9s a munk\u00e1soszt\u00e1ly mag\u00e1ra hagyatotts\u00e1ga.\u201d (Pap Tam\u00e1s, Apert\u00fara, 2013. Tavasz)<\/p>\n\n\n A t\u00e1rsadalmi dr\u00e1ma egy munk\u00e1sfi\u00fa gyerekkor\u00e1t mutatja be \u00e9s az egy\u00e9n megpr\u00f3b\u00e1ltat\u00e1sait vizsg\u00e1lja. A b\u00e1ny\u00e1szfalu elkeser\u00edt\u0151 vil\u00e1g\u00e1ban, Billy \u00e9rdekl\u0151d\u00e9s\u00e9nek kiz\u00e1r\u00f3lagos f\u00f3kusz\u00e1t egy s\u00f3lyom nevel\u00e9se \u00e9s bar\u00e1ts\u00e1ga jelenti.<\/p>\n\n\n\n Ken Loach \u201e gyakorlatias, cselekv\u0151 erk\u00f6lcs\u00f6t k\u00e9pvisel. \u2026 Cassavetes tudta ezt nagyon, el\u0151tte t\u00e1n senki, ut\u00e1na is csak nagyon kevesen \u2026\u201d (BORI)<\/p>\n\n\n Szabadka\/2022.03.15 Ken Loach: Kes, 1969, angol filmdr\u00e1ma, 110 perc. \u201eLoach filmjeinek a szerepl\u0151i vagy a n\u00e9z\u0151i d\u00fch\u00f6sek, nem a rendez\u0151j\u00fck.\u201d (Bori Erzs\u00e9bet, Filmvil\u00e1g 1997\/3) Az elm\u00falt f\u00e9l \u00e9vsz\u00e1zad brit t\u00e1rsadalmi konfliktusainak \u00e9s a munk\u00e1soszt\u00e1ly...<\/p>\n","protected":false},"author":3,"featured_media":1933,"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":[8,9],"tags":[],"class_list":["post-1927","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli","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\/2022\/03\/275808504_10228864651102459_4508996158894685727_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\/2022\/03\/275808504_10228864651102459_4508996158894685727_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\/1927","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=1927"}],"version-history":[{"count":4,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1927\/revisions"}],"predecessor-version":[{"id":2342,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1927\/revisions\/2342"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media\/1933"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media?parent=1927"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/categories?post=1927"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/tags?post=1927"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/03\/Kes_Three_Reasons_Still_Current_original.jpg\")
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