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ØDIPUS I EN TIDSMASKINE

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ØDIPUS I EN TIDSMASKINE KAARE SCHMIDT OM ØDIPUS i EN TIDSMASKINE De stive 50’ere er blevet en sjov tid, når Robert Zemeckis i »Tilbage til fremtiden« sender en 1980’er teenager på eventyr i forældrenes ungdom I en Anders And tegneserie af de gode blive hans mor, forelsker sig i drengen, der gamle konstrueres en Georg Gearløs ma­ skal blive hendes søn, i stedet for drengen, skine, der kan forudse fremtidige katastro­ der skal blive hendes mand og sønnens far. fer, så de kan undgås. Det er den rette ånd Marty har derfor to opgaver i eventyret. i Disneys eventyrverden, ikke blot fordi Han må bringe forældrene sammen og sig det er svært at spå om fremtiden, men selv tilbage til 1985 - ellers eksisterer han fordi det er uligt sværere at forudse noget, jo slet ikke. Heldigvis bor opfinderen også der ikke sker. på stedet, han har ganske vist ikke opfun­ »Tilbage til fremtiden« har denne oprin­ det tidsmaskine endnu, men som en anden delige disneyske kvalitet af fantasifuldt Benjamin Franklin ved han, at hvis først nonsens, der charmerende bagvendt ram­ lynet slår ned, så kommer tankens klarhed mer noget virkelighedsnært. Men Disney bagefter. Han har 30 år til at opfinde sin er ikke, hvad han har været, det er Steven maskine, og Marty ved, hvornår lynet slår Spielberg til gengæld, og filmen er uskylds­ ned i rådhusets tårnur, det har nemlig stået ren Disney-charme i hårdtpumpet Spiel- stille lige siden. Lynets energi sender bilen berg-stil. tilbage til 1985. USC-filmskolevenneme Robert Zemic- har Marty McFly (Michael J. Fox) optræder ved Det originale er, at Marty ændret skoleballet i 1955 med Chuck Berrys 1958-hit kis og Bob Gale skrev manuskriptet efter historiens gang. han fik forældrene bragt »Johnny B. Goode« og med Berrys »Brugte biler« (Used Cars, 1980), som sammen, men på en ganske anden måde karakteristiske d u c k w a lk på scenen Spielberg var executive producer på, og end de huskede det, før han tog afsted, og Spielberg var den eneste, der dengang resultater er derfor nogle helt anderledes kunne lide det. Zemeckis var blevet Spiel- forældre. Før: fattige, grimme, under­ hæ, og Jerry Lewis er vicepræsident?! og berg-discipel efter filmskolefilmen »Field kuede, bitre, sjuskede, hvor far stadig lod Jack Benny finansminister?! Og da han of Honor«, der fik Oscar som bedste stu­ sig tyrannisere af sin ungdoms plageånd og præsenteres for Martys medbragte video­ denterfilm i 1975, han og Gale skrev var så slap som nogen far i 50’emes ung­ udstyr, tilføjer han: »Ikke mærkeligt, at je­ »1941« (1979), Spielbergs eneste fiasko, og domsfilm (f.eks. »Vildt blod«). Efter: rige, res præsident er skuespiller!« efter Zemeckis havde prøvet instruktør- smukke, dynamiske, livsglade, hvor far al- vingerne uden sin velgører i »Nu går den lemådigst lader sin ungdoms plageånd vilde skattejagt«, der blev 1984’s største pudse bilparken. En krydsning flytter sit spor publikumssucces, kom han og Gale tilbage Ændringen af fremtiden/nutiden er for­ i folden. »Tilbage til fremtiden« er produ­ tællingens styrke og tematikkens svaghed. Når filmen kokser i sit nutidsbillede ser ceret af Spielbergs selskab Amblin Enter- Fortællingen er bragende godt konstrueret, det ud til at skyldes dramaturgien. For at tainment, og den lanceres, trods Zemeckis sammenligningen mellem 50’eme og opnå maksimal effekt skal kontrasten til foregående succes, som en Spielberg-film. 80’eme er morsom og fint distanceret, før-forældrene være total og enkel - og så Det er den sådan set også. fordi den klart har en 80’er synsvinkel. er man faldet for klicheen på samme måde Dagens almindelige 50’er nostalgi - den som uproblematiseret lykke er arm i arm ukomplicerede tid før verden fik fart på - på stranden i solnedgang og modlys i hå­ 50’erne tur-retur fejes til side med tyk latterliggørelse af da­ ret. Det er synd, for dermed svækkes den tidens ’ubehjælpsomhed’, hakkeorden og dimension, der kendetegner den virkeligt Det er en finurlig historie. Med vilde øjne snævre moral. Det er vittigt at se for­ vellykkede komedie, den begavede virke­ og busket manke har en skør opfinder - en forældrene som direkte fremskrivning af lighedskommentar bag løjerne. krydsning af gysernes ’mad scientist’ og dette 50’er miljø. Det er endnu vittigere at Den dimension havde »Nu går den Disneys »Hop med professoren« (The Ab- ændre det, der er præsenteret som faktisk vilde skattejagt«, som dermed satte sig ud sentminded Professor, 1961) - fået noget og gøre forældrene til det, drengen ønsker over Spielberg-eskapismen. »Tilbage til fornuftigt ud af en DeLorean luksussports­ de skal være. Men når man har grinet af, fremtiden« er derimod typisk Spielberg- vogn, nemlig en tidsmaskine. Marty så kan der melde sig en eftertanke med lidt eskapisme og typisk Spielberg genreblan­ McFly, skoletræt teenager fuld af pep, malurt. Lige så meget som før-forældrene ding: Man tager noget allerede prøvet, springer på vognen og stiger ud for 30 år er en parodi på ynkværdige 50’er typer, li­ dropper dets pointe og tilføjer sin egen i siden i sin hjemby anno 1955. H er m øder geså lidt er efter-forældrene distanceret fra form af en ophobning af vittige variationer han sine - kommende - forældre, før de Reagan-egoismens 80’er typer, hellere rig over de kendte klicheer samt masser af ef­ har mødt hinanden. Den peppede knægt og rask end syg og fattig. fekter. Zemickis har selv beskrevet opskrif­ planter 30 års frigørelse midt i de stram­ Egentlig ser det ikke ud til at have været ten: »Tilbage til fremtiden« er en »come- tandede 50’ere, og før han får set sig om, filmens holdning. Opfinderen spørger i dyadventure-sci-fi-time-travel-love story«. har han brudt tidsrejsens første lov: Du må 1955 om, hvem der er præsident i 1985 og Filmen er en krydsning mellem »sci-fi- ikke ændre historiens gang. Pigen, der skal tror ikke sine egne ører: »Skuespilleren? - time-travel-love story’en« i »Kapløb med 184 Turne w h * TILBAGE TIL FREMTIDEN Back to the Future. USA 1985. P-selskab: Amblin. For Universal. Ex-P: Steven Spielberg, Frank Marshall, Kathleen Kennedy. P: Bob Gale, Neil Canton. I-ledere: Dennis E. Jones, Jack Grossberg. Instr: Robert Zemeckis. Instr-ass: David McGiffert, Pamela Eilerson. Manus: Robert Zemeckis, Bob Gale. Foto: Dean Cundey. Kamera: Raymond Stella. Farve: Tech- nicolor. Klip: Arthur Schmidt, Harry Keramidas. P-tegn: Lawrence G. Pauli. Ark: Todd Hallowell. Dekor: Hal Gausman. Rekvis: John Zemansky. Kost: Deborah L. Scott. Musik: Alan Silvestri. Sange: »The Power of Love«, »Back in Time« med Huey Lewis and the News; »Heaven is One Step Away« med Eric Clapton; »Time Bomb Town« med Lindsey Buckingham; »Mr. Sand­ man« med the Four Aces; »Ballad of Davy Croc- kett« med Fess Parker; »The Wallflower (Dance With Me Henry)« med Etta James; »Night Train« med Marvin Berry and The Starlighters; »Pledging My Love« med Johnny Ace; »Earth Angel« med Marvin Berry and the Starlighters; »Johnny B. Goode« med Marty McFly with The Starlighters; Tone: Charles L. Campbell, Robert Herover: Tilbage i Rutledge, Larry Larow, Samuel C. Crutcher, Ja- 50’erne med de nice Hampton, Scott Hecker, Chuck Neely, 'primitive’ reklamer, Bruce Richardson, Fred Stafford, Jerry Stanford, de buttede biler, de Bill Vamey, Tenny Sebastian II. neonrørsformede Medv: Michael J. Fox (Marty McFly), Christop­ dørhåndtag til her Lloyd (Dr. Emmett Brown), Lea Thompson isbaren og rødderne (Lorraine Baines), Crispin Clover (George på jagt efter McFly), Thomas F. Wilson (Biff Tannen), Clau­ outsider'en, vor dia Wells (Jennifer Parker), Marc McClure 1985-helt (Dave McFly), Wendie Jo Sperber (Linda McFly), George DiCenzo (Sam Baines), Frances Lee McCain (Stella Baines), James Tolkan (Mr. Strickland), Jeffrey Jay Cohen, Casey Siemaszko, Billy Zane, Harry Waters Jr., Donald Fullilove, Lisa Freeman, Cristen Kauffman, Elsa Raven, Will Hare, Ivy Bethune, Jason Marin, Katherine Britton, Jason Hervey, Maia Brewton, Courtney Gains, Richard L. Duran, Jeff O’Haco, Johnny Green, Jamie Abbott, Norman Alden, Read rtys nedtrampede, desillusionerede mor og Marty’s mor som ung, Morgan, Sachi Parker, Robert Krantz, Gary Ri- efuld og vildt forelsket i Marty ley, Karen Petrasek. Længde: 117 min. Udi: UIP. Prem: 13.12.85 - Palads + Palladium. tiden« (Time After Time, 1979) og »co- vede at bringe dem sammen under ballet, sige for blid dengang i 1980, hvor blod­ medy-adventyre story’en« i »Fræk Busi­ forstuver guitaristen hånden og orkestret dryppende gysere havde afløst hårdslående ness« (Risky Business, 1983). I »Kapløb må opgive at spille, før forældrene har kys­ actionfilm som ungdomspublikummets fo­ med tiden« flygter Jack the Ripper via set hinanden. For at redde situationen retrukne biograffomøjelse. Til gengæld er H.G. Wells’ tidsmaskine fra århundred­ overtager Marty guitaren - og spiller filmen en typisk 85’er, en lille perle blandt skiftets London til 1970’emes Los Angeles, Johnny B. Goode. Lederen af gruppen, de letbenede ungdomskomedier, der er forfulgt af Wells selv (tidsmaskinens litte­ Marvin Berry, snupper telefonen og ringer blevet den dominerende genre i dag. rære ophavsmand), der skal hindre den an­ til sin fætter: »Lyt, Chuck, her er den Derfor er det også ironisk at høre så­ akronistiske gaslys-morder i at folde sig ud sound, du er på jagt efter«! Som alle ved, kaldte medieforskere advare mod den om­ på hjemmebane i vor tids voldsmiljø udsendte Chuck Berry sin rockklassiker i siggribende ’billedvold’ (f.eks. i Politiken (pointe). I »Fræk Business« får en opvakt februar 1958, så han havde altså et par år 3.11.85; »Der er sket en escalering af vold teenagedreng gjort forældrenes hus til bor­ til at øve sig. på film og i TV inden for de sidste fem del og tjener styrtende med penge, mens For enhver amerikaner - og enhver dan­ år...«), når tendensen faktisk er gået stik kammeraterne sidder på skolebænken og sker med bil - er Martys første møde med modsat.
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