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De Halvnøgne Og De Døde

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De Halvnøgne Og De Døde De halvnøgne og de døde Norman Mailer har filmatiseret sin egen kriminalroman orman Mailer har gennem det meste af a f Peter Schepelem forlod han den konventionelle romanform N sin lange karriere kæmpet en hidsig og til fordel for journalistik og reportage. 1 den aggressiv - men i det store og hele også sejrrig almindelige forvirring hægtede han sig også - kamp med litteraturen, selv om en ikke rin- dighed for en industriel virksomhed, og des­ på det avantgardistiske filmmiljø i New York ge portion kræfter er blevet spildt på rollen uden var han at finde på kulturlivets ven­ City omkring skikkelser som Jonas Mekas, som provokatorisk kulturel vildbasse. Men strefløj, hvilket jo i disse år fik filmmoguler­ Bob Downey og Andy Warhol og lavede, han har også gennem alle disse år på en no­ ne til at bæve. Men selv om han ikke kom med D. A. Pennebaker som professionelt hol­ get mere behersket måde bejlet til filmkun­ til at gøre noget for Hollywood, fik opholdet depunkt, tre selvfinansierede underground sten. betydning for ham. I de følgende år skrev film, Wild 90, Beyond the Law (begge 1968) Som ganske ung student deltog han i 1941 han en Hollywoodroman, ”The Deer Park” og den mere ambitiøse Maidstone (optaget i en MGM-konkurrence om en fremtid som (1955), der er blandt de bedste af de bitre 1968, udsendt 1970, bogudgave 1971), histo­ manuskriptforfatter, men han vandt heldig­ hævnbøger, filmbyen har inspireret frustre­ rien om en præsidentkandidat (spillet af vis ikke. I stedet gik han i hæren og gjorde rede forfattere til. Nogle år senere kom omsi­ Mailer selv), der efterstræbes af en halvbro­ Stillehavskrigen med. Efter det sensationelle der en ideologisk vandkæmmet filmatise­ der (spillet af Rip Torn). Det var et forsøg på gennembrud med debutromanen ”De nøg­ ring af De nøgne og de døde. Uden Mailers an­ at bruge improvisation og cinéma vérité- ne og de døde” blev han i 1949 inviteret til alytiske grumhed indgik den i rækken af metoder med Mailer som ekscentrisk cen­ Hollywood, hvor han deltog i selskabslivet Korea-relaterede selvbekræftelser. trum og udartede til et amatørisk kaos af di­ som nyt forfattergeni. Men hverken planer­ I 60erne var Mailer inde i sin mest urolige mensioner. I 70erne kom den mere personli­ ne om en filmatisering af bogen med Burt og eksplosive periode og figurerede på avis­ ge end kildekritiske biografi om Marilyn Lancaster eller manuskriptskrivning til forsiderne i skiftende roller som hustrumis­ Monroe (som Mailer aldrig havde truffet - ef­ Montgomery Clift blev til noget. Mailer var handler, politisk demonstrant, kønsrollede­ ter sigende skal hun have udtalt: ”One ikke typen, der kunne stille sit talent til rå- battør og borgmesterkandidat. Typisk nok writer is enough for me”). Hans mesterlige 12 doku-roman om morderen Gary Gilmore, ”The Executioner’s Song”, blev i 1982 ud­ sendt som en todelt tv-film, baseret på Mailers eget manuskript, vist i Danmark i forkortet biografversion som Manden der vil- le henrettes og i komplet udgave af svensk tv. På samme tid kunne biografgængere også se Mailer (med sin kone nr. 6) i en lille rolle i Formans Ragtime, hvor han spiller arkitek­ ten Stanford White. Men derefter brugte han sine kreative kræfter på at fuldføre den store Ægypten-fantasi, som han i årtier hav­ de fabiet om. "Ancient Evenings” udkom i 1983 og blev ikke The Great American Novel, som alle nationens forfattere traditio­ nelt stræber mod, ikke engang Den Store Oldægyptiske Roman (for den har Thomas Mann jo allerede skrevet). Efter denne noget svagt funderede kolos skrev Mailer på kort tid en lille veloplagt kriminalroman, "Hårde drenge danser ikke”, der opfyldte nogle for- lagskontraktlige forpligtelser, men nok også Herover Norman Mailer. T.v. Isabella Rosellini. skulle ses som forfatterens bevis for, at han Yderst t.v. Ryan O ’Neal, Debra Sandlund og skam stadig var fortællekunstens suveræne Clarence Williams III. mester. Og det er med dette beskedne værk, at buldrende brænding der slår ind på vores han omsider har fået mulighed for at lave en nødstedte forfatterhelts strandvilla i Provin- professionel film - hvorved han slutter sig til cetown, Massachusetts, mens han desperat det udvalgte selskab af forfattere, der har fil­ prøver at få klarhed over, hvad det var der matiseret deres egen bog: Malraux med Hå­ skete hin uhyggelige nat, hvor han vågnede bet, Kazan med Ordnede forhold, Duras med op med hukommelsestab og fandt sit bilsæ­ India Song er de mest prominente fortilfælde. de oversølet med blod og en frisklavet tato­ Oprindelig var filmen del i en aftale med vering på armen med navnet på den tabte el­ Cannon Films om, at han skulle få lov at in­ skede. Blodet flyder rigeligt: Jessica myrder struere mod til gengæld at skrive manus til Lonnie, Patty myrder Jessica, Madeleine Godards planlagte King Lear. Det sidste myrder Regency, og Wadley ekspederer både strandede på gemytternes uoverensstemmel­ Patty, to hoodlums - og Wadley. Men anty­ se (Mailer hævder, at han opgav, da han op­ der kun det makabre. ”My idea of film noir dagede at Godard end ikke gad læse styk­ is that you have quirky, interesting villains, ket). Så måtte Godard selv skrive sin film, and a kind of odd, semi-tongue-in-cheek at­ som nu er indgået i den klynge sene værker, titude toward the plot. You can never quite der som en ufortjent straf hviler på Nybøl- tell if the moviemakers are serious or not gens aldrende fans. sion that keeps one from real satisfaction”, about the plot. That’s crucial to film noir” Hårde drenge danser ikke er en low budget for når alt kommer til alt er det samme ting: har instruktøren fortalt. Genren tjener ham produktion - det hele er ordnet for ca. 3 mil­ "Fucking is penetration, murder is penetra­ som en udmærket vehikel for hans tematik, lioner dollars, som en almindelig Holly- tion”. en fin undskyldning for et plot som han wood-produktion roligt fyrer af på pr-bud­ Hans film er da også først og fremmest en utvivlsomt tager helt alvorligt, og i betragt­ gettet. Men det er fotografisk, scenografisk, visualisering og dramatisering af disse særeg­ ning af i hvor høj grad det ellers altid har lig­ skuespillermæssigt professionelt arbejde. ne Mailer’ske filosofismer, behændigt for­ get Mailer på sinde at lave "Advertisement Mekas sagde for nylig i forbindelse med Mai­ met som en film noir-pastiche. I traditionen for Myself’, er det en overraskende beher­ lers 60er-film: ”He couldn’t make a film fra genrens klassikere er den mandlige ho­ sket film, som med god kontrol og udmær­ about somebody else. He has to talk, he has vedpersons voice over den samlede kompo­ ket personinstruktion afvikler sin historie. to provoke. Without his presence he’d have nent i en historie - temmelig kompliceret Efter et halvt århundredes tilløb blev det to be a filmmaker and know the craft of cine- med flere lag af flashbacks - om morderiske omsider til en rigtig "film by Norman Mai­ ma, which he doesn’t”. Men faktisk er intriger og fatale kvinder, hvis kynisme sy­ ler”. Mailers amatørstatus forbløffende lidt nes at være en side af deres glubske, destruk­ mærkbar på resultatet. I et essay om erfarin­ tive drifter. Det er seksualitetens utålelige Hårde drenge danser ikke gerne med Maidstone, ”A Course in Film- vægt, der tynger personerne ned i dybet, de Tough Guys Don’t Dance. USA 1987. Cannon Films. Making” fra 1971, fremsætter Mailer den på­ fleste helt ned på moderhavets bund. Prod.: Menahem Golan, Yoram Globus, Francis Coppo- stand, at "film is a phenomenon whose re- Det hele er en dunkel intrige omkring en la. Instr.: Norman Mailer. Manus: Mailer efter egen ro­ man. Foto: John Bailey. Klip: Deborah McDermott. Mu­ semblance to death has been ignored for too kokainhandel, som skal gøre en håndfuld sik: Angelo Badalamenti. long”. Og i forbindelse med den nye film fordærvede og grådige mennesker rige, et Medv.: Ryan O ’Neal (Tim Madden), Debra Sandlund fremhæver han det morderiske ved sexak- væv af sex og mord, et kig på de halvnøgne (Patty Lareine), Isabella Rossellini (Madeleine), Wings ten: ”When one person is more murderous og de døde: Der er dekapiterede kvindelig, Hauser (politichef Regency), Francis Fisher (Jessica), Pa­ trick Sullivan (Lonnie), Lawrence Tierney (Maddens than the other in the act of love, they are afhuggede hoveder, løsslupne orgier, skæb­ far). left, male or female, with an intolerable ten­ nesvangre gensyn, bare bryster i natten og Udi: A B Collection. 108 min. 13.
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