The Godfather Forskning Deraf

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The Godfather Forskning Deraf blev allerede i levende live - ligesom always will be«, siger Cole Younger, og ne dø« er en sympatisk undtagelse. En­ Clyde Barrow og Bonnie Parker et halvt nu er det snart sagt så ofte, at ikke delig igen en film om konflikten mellem århundrede senere - behæftet med Ro­ alene de, der bliver ved med at gentage de betingelser et menneske kan stille bin Hood-legenden, og fælles for de to det, men også deres tilhørere er i fare til tilværelsen, og så dem livet møder bander og vel sagtens andre af slagsen for at falde hen i en tro på, at denne ham med. »Jesse James’ store bankkup« er, at de både kom til at ligge under for tingenes tilstand ikke står til at ændre. er dens prototypiske modsætning. En myten om sig selv - blev slaver af den - At bebrejde Cole, at han mener, hvad monoton historie uden konflikter og og med flid broderede på den. Filmen han siger og slår sig til tåls dermed, uden præferencer. »The Gunfighter« af Henry King byg­ ville unægtelig være nytteløst, men man Niels Jensen gede på dette motiv men var i for høj kan anklage filmen for, at den ikke på grad afhængig af det til at kunne få det en eller anden måde forholder sig til ■ JESSE JAMES’ STORE BANKKUP hans defaitistiske livsfilosofi, men for- The Great Northfield Minnesota Raid. USA 1972. på tilstrækkelig afstand, og indtil nu er Dist: Universal. P-selskab: Universal/Robertson & det nok Arthur Penns »Billy the Kid«, flygtiger såvel den som sin egen nihi­ Associates. En Jennings Lang Præsentation. As-P: Bruce Graham. P-leder: Harker Wade. Instr/Manus: der har forstået mest af dobbeltspillet lisme ved at lægge alting - og ikke Philip Kaufman. tnstr-ass: Ralph Sariego. Foto: mellem de psykologiske og mytologiske mindst personkarakteristikken - ud i Bruce Surtees. Sp-foto-E: Albert Whitlock. Farve: Technicolor. Klip: Douglas Stewart. Ark: Alexander mekanismer. karikaturer. Så er der intet, der skal Golitzen, George Webb. Dekor: Hal Gausman. Her i »Jesse James’ store bankkup« tages helt alvorligt, intet der står for Kost: Helen Colvig. Musik: Dave Grusin. Sang: »Hodie Christus-Natus Est«, sunget af the St. Olaf bliver det i alt fald ved skitseringen. pålydende værdi. Filmen affærdiger så College Choir of Northfield, Minnesota. Tone: Jesse opfatter sig selv som en slags at sige sin egen patologi og misantropi Waldon O. Watson, Melvin M. Metcalfe, Sr., Ro­ som blot og bar grimasse og attitude. bert Hoyt. Medv: C liff Robertson (Cole Younger), guerillakaptajn for ’the Confederacy’ og Robert Duvall (Jesse James), Luke Askew (Jim lever op til Robin Hood-legenden ved Hvad vi får er da en lidenskabsløs be­ Younger), R. G. Armstrong (Clell Miller), Dana retning om socialt og menneskeligt for­ Elcar (Allen), Donald Moffat (Manning), John at røve fra de rige uden dog nødvendig­ Pearce (Frank James), Matt Clark (Bob Younger), vis at give til de fattige. Cole Younger, fald, og hvad er mere forstemmende. Wayne Sutherlin (Charley Pitts), Robert H. Harris Uden ængstelse og uden ærinde regi­ (Wilcox), Jack Menning (Heywood), Efisha Cook, der er filmens centrale figur er mere Jr. (Bunker), Royal Dano (Gustavson), Mary-Robin gorilla end guerilla. En patologisk spra­ streres her livets latterlighed. Redd (Kate), Arthur Peterson (Jefferson Jones), Craig Curtis (Chadwell), Barry Brown (Henry debasse med - hvad der måske ikke er Den klassiske western byggedes over Wheeler), Nellie Burt (»Doli Woman«), Liam Dunn usædvanligt for sådanne karakterer - konflikten mellem individuel selvhæv­ (Dummer), Madeleine Taylor Holmes (Bedstemo­ derlig kvinde), Herbert Nelson (Detektiv), Erik masser af charme og et veludviklet for­ delse og social tilpasning. En konflikt, Holland (Sherif), Anne Barton (Clells kone), Mar- tælletalent. Ret en påfugl at skue når der som oftest løstes - for nemt - ved jorie Durant (Maybelle), Inger Stratton (Syngende skøge), Valda J. Hansen (Nøgen pige), Bill Calla- han på torvet paraderer sin læderpans- at først den ene part og dernæst den way (Skriver). Længde: 91 min. Censur: Ingen. Udi: rede vest med de flotte skudhuller. Cole anden fik, hvad der krævedes; - men C.I.C. Prem: Carlton 24.11.72. er et legebarn, kan li’ mekanisk tingel­ som altså dog var der, selv i standard­ Eksteriørscener indspillet i Jacksonville, Oregon. tangel og tilværelsens andre vidunder­ værkerne. Og i de bedste af de gamle ligheder, hvilken form de så end tager. westerns lykkedes det at gennemgløde Togtet til Northfield hindrer videre ud­ de stereotype opstillinger og den ske­ The Godfather forskning deraf. Det koster ham 25 år, matiske moralitet, så spillet blev til en men filmen slutter fortrøstningsfuldt med erkendelse, der sagde, at kun den, der Efter næsten et års reklamebulder er en bemærkning om, at han levede helt er noget for sig selv, kan blive noget det slet ikke utænkeligt, at der i mange op til 1916, altså længe nok til at se en for andre. vågner en latent Rasmus Modsat. Hvor­ ny tidsalder blive til. Øjeblikkets film - i alt fald øjeblikkets dan kan nogen film overhovedet være Den han længes imod eller hvad? amerikanske - har lidet at sige om men­ så god at den, sagt lidt forenklet, ind­ 1916 var året før USA kom med i ver­ neskers betydning for sig selv og hin­ spiller minimum en million dollars om denskrigen. Somme-slagets og Jyllands- anden. Det, der optager dem, er ikke dagen? Det hævdes at være taksten i slagets år. De mekaniske dinosaurers tilværelsens konstruktive men tværtimod USA, hvor »The Godfather« længe har epoke. Måske for Cole en slags opfyl­ dens destruktive kræfter. De mest spæn­ figureret ikke blot som gangsterfilmens delse - og måske for filmen; den kan dende af disse film dirrer af forskræk­ »Borte med blæsten« men også som lide massakrer. Et lidt nøjere signale­ kelse og fascination over deres egen produktionsselskabets »The Sound of ment af den fremtid, der varsles om i overbevisning, som går ud på, at der i Money«. Der er noget suspekt over det. slutbemærkningen, får vi i beskrivelsen mennesket ikke alene findes en dyb drift Det er nok nytteløst at spekulere over, af en sportskamp, der introducerer et nyt mod katastrofen, men at livet ville være hvorfor netop »The Godfather« er blevet spil, man er begyndt at more sig med i utåleligt, hvis det ikke nu og da førtes den eksempelløse tilløbssucces. Ganske de civiliserede øststater, og som viser ud over sin egen afgrund. Sam Peckin- vist er gangstere pr. definition et godt sig at være en form for kappestrid, de pahs »Køterne« er en gysende hengi­ emne, og ganske vist fik filmen i USA gode nybyggere i Minnesota kan nikke velse til det dæmoniske, måske en ni­ en enorm ekstra reklame forærende af genkendende til: en pløret og sammen­ hilistisk bekendelse, måske en besvær­ New York mafiaen, der næsten med pre­ filtret alles kamp mod alle. Og det synes gelse? En film i flere lag og åben for mieren begyndte at myrde hinanden; og da stort set at være, hvad denne for­ mange fortolkninger. Det går nemmere ganske vist kan man nok med en vis ri­ tælling har at sige: verden var, er og at få hold på den beslægtede »Ubudne melighed hævde, at gangsterfilmen som forbliver et galehus beboet af psykopa­ Gæster« af Elia Kazan, der har et klart genre spejler en bestemt folkelig opfat­ tiske stratenrøvere og bedsteborgere, sigte med sin afdækning af djævelska­ telse af USA på samme måde som vore der er dummere end politiet tillader, ben, og som for en gangs skyld taler hjemlige og langt mere fredelige omgi­ men ikke mere korrupte; ingen er nem­ åbent om det, der ellers altid pakkes velser får en folkelig spejling i Morten lig så korrupte som lovens udøvere selv. ind i allegori, nemlig folkedrabene i Korchske idyller og lummervarme sen­ En bestemt scene fortætter filmens Vietnam. Filmen er slet og ret en for­ gekante - men alligevel, en million dol­ menneske- og verdensanskuelse. Den maning til det splittede USA om at være lars er forbistret mange penge. Og så udspilles foran byens forkomne bordel, forsigtig med de skråsikre fordømmel­ pr. dag! hvor frysende ludere ser til, mens ret­ ser, selvom nogen er mere retfærdige Filmen er en ret trofast genfortælling færdighedens vogtere holder hænderne end andre. af Mario Puzos bog (dansk udgave: Ma­ oppe og bukserne nede på kunderne og De mest kedsommelige af tidens film fia) om en mafia-familie i New York. Or­ skyder de forkerte i forsøget på at hæv­ er de, der slapt eller kælent lukrerer på det mafia bruges dog aldrig i filmen, ne en sølet massakre på den plørede en nihilistisk stemning, og den er ingen men hvem generer det? Skønt mafiaen hovedgade. mere underdanig end cowboy-filmene. langt fra er den dominerende forbryder­ »Our national sport is shooting and Sydney Pollacks »Manden, der ikke kun­ organisation i USA, som avisskriverier 112 gør den til, og skønt mafiaen, eller La Godfathers skikkelse er der intet ondt ponerende. Ikke blot Al Pacino og Mar- cosa nostra eller hvilket navn man end (i modsætning til skildringen af Don lon Brando som nutidens og fortidens vil give organisationen (i Chicago kal­ Corleone i Puzos bog), og når FBI agen­ Godfather, men hele rækken af medvir­ des det foretagende ofte for »The Out- ter senere dukker op ved Corleones kende er sjældent mindre end fremra­ fit«, i Buffalo siger man »The Arm« og villa for at notere sig, hvilke gæster der gende, med James Caan og Robert Du- andre steder hvisker man om »The Of­ er, så kan man med Corleone-familien vall som de bedste efter Pacino og fice«, fortæller Nicholas Gage i »The betragte FBI som utidige indtrængere. Brando. Mafia is Not an Equal Opportunity Em- Kun med et meget forenklet billede af Men - og så er vi tilbage, hvor vi star­ ployer«) muligvis er på retur, så synes USA er den problemstilling rimelig.
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