{"id":1936,"date":"2022-03-23T11:48:08","date_gmt":"2022-03-23T10:48:08","guid":{"rendered":"https:\/\/ctalker.org\/?p=1936"},"modified":"2022-08-17T19:32:11","modified_gmt":"2022-08-17T18:32:11","slug":"kurbli-filmklub-marco-ferreri-dillinger-halott","status":"publish","type":"post","link":"https:\/\/ctalker.org\/rs\/2022\/03\/23\/kurbli-filmklub-marco-ferreri-dillinger-halott\/","title":{"rendered":"Kurbli Filmklub: Marco Ferreri-Dillinger halott"},"content":{"rendered":"\n

Szabadka\/2022.03.22.<\/p>\n\n\n\n

Marco Ferreri: Dilinger halott (Dillinger e morto) 1969, olasz krimi dr\u00e1ma, 91 perc.<\/p>\n\n\n\n

\u201eA Dillinger halott a narrat\u00edv, pszichol\u00f3giai \u00e9s szimbolikus j\u00f3zan \u00e9szt veti ki az ablakon\u2026 a film elutas\u00edtja a vil\u00e1gos logik\u00e1t, egym\u00e1snak ellentmond\u00f3 szimb\u00f3lumai \u00e9s erk\u00f6lcsi k\u00e9t\u00e9rtelm\u0171s\u00e9ge v\u00e9gtelen \u00e9rtelmez\u00e9s el\u0151tt \u00e1ll.\u201d <\/em> Michael Joshua Rowin, 2010<\/p>\n\n\n\n

Az 1966-75 k\u00f6z\u00f6tti \u00e9vtized legjobb filmj\u00e9nek j\u00e1r\u00f3 Bolaffi-d\u00edjat, h\u00fasz olasz kritikus \u00edt\u00e9lte oda a Dillinger Halott<\/em> c\u00edm\u0171 filmnek. Majd Antonioni \u00e9s Pasolini ut\u00e1n, a negyedik helyre szint\u00e9n egy Ferreri film, A nagy zab\u00e1l\u00e1s <\/em>ker\u00fclt.<\/p>\n

\u201e\u2026 a kedvesem vett b\u00e9rletet a Ferreri-sorozatra \u2026 h\u00e9tr\u0151l h\u00e9tre katarzisgyan\u00fas h\u00e9vvel vitatkoztunk a l\u00e1tottakon, hogy azt\u00e1n a legritk\u00e1bb esetben \u00e9rts\u00fcnk egyet \u2026\u201d (Csejdy Andr\u00e1s, 1997)<\/p>\n

A Dillinger halott<\/em> az \u00e9rett filmm\u0171v\u00e9szeti modernizmus egyik gy\u00f6ngyszeme. A politikai modernizmus k\u00fcl\u00f6nc szerz\u0151i szat\u00edr\u00e1ja, a botr\u00e1nyos Marco Ferreri mag\u00e1nmitol\u00f3gi\u00e1j\u00e1nak \u00e9p\u00edt\u00e9s\u00e9ben a legfontosabb alkot\u00e1s. A modern egy\u00e9n intim szf\u00e9r\u00e1j\u00e1ban j\u00e1tsz\u00f3d\u00f3 meditat\u00edv filmet, az eur\u00f3pai szerz\u0151i film egyik legk\u00fcl\u00f6nlegesebb alkot\u00f3ja k\u00e9sz\u00edtette. <\/p>\n

\u201eA nagy zab\u00e1l\u00e1s<\/em> \u00e9s a Dillinger halott <\/em>rendez\u0151jek\u00e9nt \u00fcnnepelt Ferreri jelent\u0151s\u00e9ge a MeToo mozgalom \u00e9veib\u0151l visszatekintve m\u00e9g ann\u00e1l is nagyobb, mint gondoln\u00e1nk. \u2026 az alkot\u00f3 a groteszk, a sz\u00fcrre\u00e1lis \u00e9s az abszurd eszk\u00f6zeit legt\u00f6bbsz\u00f6r a gender ter\u00fclet\u00e9n vetette be.\u201e (Vajda Judit, 2020)<\/p>\n

Rendk\u00edv\u00fcl \u00e9rz\u00e9kletes m\u00f3don, a z\u00e1rt szitu\u00e1ci\u00f3s dr\u00e1ma asszociat\u00edv, misztikus tudatfilmes \u00e1t\u00e9lez\u00e9sekkel oper\u00e1l. Egy\u00e9n szerepe, szubjektivit\u00e1s, \u00f6nreflexivit\u00e1s. \u00d6nironikus film. T\u00e1rsadalmi groteszk, szatirikus, melankolikus m\u0171fajpar\u00f3dia. Egy elmag\u00e1nyosodott v\u00e1rosi \u00e9rtelmis\u00e9gi nihilbe \u00e9r\u00e9se.<\/p>\n\n\n

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

A film parabolisztikus elbesz\u00e9l\u00e9se \u00e9s kritikus szeml\u00e9lete m\u00f6g\u00f6tt Ferreri egy j\u00f3l megfogalmazott pszichol\u00f3giai, filoz\u00f3fiai, t\u00f6rt\u00e9nelmi t\u00e9zist \u00e1ll\u00edt fel. \u00c1ltal\u00e1nos ideol\u00f3giai k\u00e9rd\u00e9st feszeget, mint Pasolini a Teor\u00e9m\u00e1ban, line\u00e1ris narr\u00e1ci\u00f3ja viszont Bu\u00f1uellel k\u00f6ti \u00f6ssze. Pasolinivel szemben Ferreri \u201enem l\u00e9pi \u00e1t a hagyom\u00e1nyos t\u00e9r-id\u0151 folyamatoss\u00e1g kereteit az elbesz\u00e9l\u00e9sben.\u201d (KAB)\u201eFerreri filmjeit hideg der\u0171vel alak\u00edtja groteszk p\u00e9ld\u00e1zatokk\u00e1, s teremti meg figur\u00e1kban \u00e9s alkot\u00f3i eszk\u00f6z\u00f6kben gazdag, szuggeszt\u00edv filmi vil\u00e1g\u00e1t. \u2026 A Dillinger halott \u00f3ri\u00e1si sajt\u00f3vit\u00e1t v\u00e1ltott ki, megkock\u00e1ztatom, hogy a hatvanas \u00e9vek legjobb filmje.\u201d (Gambetti Giacomo)<\/p>\n\n\n

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

\u201eA Dillinger halottban a f\u00e9rj \u00fagy tesz, mintha a vet\u00edtett filmen bel\u00fcl \u00faszna egyet.\u201dA film egy olasz g\u00e1z\u00e1larc-tervez\u0151 \u00e9let\u00e9nek egy rutinszer\u0171nek t\u0171n\u0151 \u00e9jszak\u00e1j\u00e1ba kalauzol el minket. \u201eEgyed\u00fcl\u00e1ll\u00f3 \u00e9lm\u00e9ny, egyszerre logik\u00e1tlan \u00e9s nagyvonal\u00faan egzisztenci\u00e1lis.\u201d <\/em>(The Criterion Collection)<\/p>\n\n\n

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Megval\u00f3sult a Magyar Korm\u00e1ny t\u00e1mogat\u00e1s\u00e1val<\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"

Szabadka\/2022.03.22. Marco Ferreri: Dilinger halott (Dillinger e morto) 1969, olasz krimi dr\u00e1ma, 91 perc. \u201eA Dillinger halott a narrat\u00edv, pszichol\u00f3giai \u00e9s szimbolikus j\u00f3zan \u00e9szt veti ki az ablakon\u2026 a film elutas\u00edtja a vil\u00e1gos logik\u00e1t, egym\u00e1snak ellentmond\u00f3 szimb\u00f3lumai...<\/p>\n","protected":false},"author":3,"featured_media":1939,"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-1936","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\/276166571_10228900136749578_3501277690308253830_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\/276166571_10228900136749578_3501277690308253830_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\/1936","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=1936"}],"version-history":[{"count":3,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1936\/revisions"}],"predecessor-version":[{"id":2341,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1936\/revisions\/2341"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media\/1939"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media?parent=1936"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/categories?post=1936"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/tags?post=1936"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}