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Naturlig Størrelse« Er Hans Mange År Senere

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Naturlig Størrelse« Er Hans Mange År Senere FBI og siden skød sig med netop den at kunsten trods alt kan have en betyd­ pistol hvormed han havde nedlagt Dil- ning som symbol), og Berlanga var ar­ linger. bejdsløs i fire år. Herefter lavede han Men Milius’ konstruktion holder ikke. elskværdigt satiriske komedier om små­ Det er ikke blot det at Purvis faktisk borgerlighed, turisme og kommercialis­ (også ifølge bagteksten) først skød sig me, og »Naturlig størrelse« er hans mange år senere. Det er snarere det at første internationale udspil siden »El Milius’ manuskript og instruktion ikke verdugo«. ganske formår at sandsynliggøre hvad Bag filmen skimter man en spag idé filmskelettet så åbenbart vil have frem. om den misogyni, der lurer lige under Den dybere analyse af de to personer den galliske galante holdning til damer­ og deres indbyrdes forhold der kunne ne, og som altså skulle afsløres gennem have båret den småfascistiske gigant­ det perfekte sexdyr, en plasticdukke, tanke og givet den indhold, drukner i der »aldrig tuder, aldrig spørger, aldrig Milius’ skydeglæde, i hyl og skrig og beklager sig, aldrig vil ha’ en yacht« plaffende maskinpistoler og små afsky- (citatet er ukorrekt, essensen korrekt), delige blodpakninger. Og den mytiske men historien skal gudhjælpemig så substans som Milius prøver at hente fra drejes i en helt eventyragtig, næsten den filmhistoriske tradition udebliver af metafysisk retning med den moralske samme grund. opløsning af såvel tandlæge som dukke Bizart som den grasserende, småfas­ John Milius (tv.) og slutte med billedet af det evige sym­ cistiske voldsdyrkelse (selv i en efter og Warren Oates. bol, der altid flyder ovenpå - bøvs. forholdene »blid« version) kan komme vandt han en pris for sin universitets­ Filmen svigter også på det sociale, på til at kvæle udtrykket for den småfasci­ film »Marcello, l’m So Bored«, der blev det fantastiske, og på det erotiske plan stiske gigantmytologi. Jeg er i syv sind vist ved en National Student Film Festi­ - trods mange forsøg på at peppe sidst­ med om jeg tør kalde dette glædeligt. val. Filmen var en parodi på Fellini, der nævnte op med coitus set gennem rå­ Søren Kjørup sammen med Godard synes at være glas og med antydet fellatio til Strauss- rytmer. løvrigt er de bedste erotiske ele­ ■ DILUNGER - GANGSTERNES GANGSTER Milius’ foretrukne aversioner. John Ford, Dillinger. USA 1973. Dist/P-selskab: American In­ Howard Hawks og Akira Kurosawa synes menter i filmen øjeblikke, hvor Berlanga ternational Pictures. Ex-P: Samuel Z. Arkoff. Law- viser os en lukket dør, der om kort tid rence A. Gordon. P: Buzz Feitshans. As-P: Robert at være favoritter hos Milius. Før in­ A. Papazian. P-leder: Elliot Schick. Eksteriør-leder: struktør-debuten har Milius skrevet ma­ åbnes af en Piccoli, der er panisk for­ Charles Minsky. P-ass: Karen Rasch. Instr/Manus: hippet på at komme ind til dukken bag John Milius. Instr-ass: Donald C. Klune, Ronald nuskript til bl. a. Sydney Pollacks »Jere- Martinez. Stunt-instr: Max Kleven. Foto: Jules miah Johnson« (Manden der ikke kunne døren, ind til sin fantasiverden. I så­ Brenner. Farve: Movielab. Klip: Fred R. Feits­ danne øjeblikke er identifikationen næ­ hans, Jr. Ark: Trevor Williams. Dekor: Charles dø) og motorcykel-filmen »Evel Knievel« Pierce. Kost: James George, Barbara Siebert. Sp- samt været med til at omskrive manu­ sten maximal, fordi tilskueren er så E: A. D. Flowers, C liff Wenger. Musik: Barry De spændt på, hvad der er bag døren, og Vorzon. Sange: »We’re in the Money« af Harry skriptet til »Dirty Harry« (ukrediteret). Warren & Al Dubin; »Just One More Chance« af hvad der skal ske, at opstemtheden kan Arthur Johnston & Sam Coslow; »Honey« af Sey- sammenlignes med hovedpersonens. Om mour Simons, Haven Gillespie &. Richard A. Whit- Naturlig størrelse ing; »Happy Days Are Here Again« af Milton Ager det i sig selv er af anden værdi end & Jack Vellen; »It's Easy to Remember« af Ri­ Et stykke inde i Luis Berlangas i Frank­ underholdningens, må sociologer afgøre, chard Rodgers &. Lorenz Hart; »Beyond the Blue Horizon« af W. Franke Harling, Richard A. Whiting rig producerede »Grandeur nature«, der men når der ikke er meget andet at op­ &. Leo Robin; »Red River Valley« (ukendt komp.); naturligt nok har fået den danske titel leve i en film, må man ernære sig ved »Skip To My Lou« (ukendt komp.). Tone: Don Johnson, Kenny Schwarz. Frisurer: Marlene Kol- »Naturlig størrelse«, siger Michel Pic- sådanne titillationer. De opstår derimod stad. Makeup: Tom Ellingwood. Medv: Warren coli til en åbenbart forhenværende el­ ikke ved de hyppige og langsomme ka­ Oates (John Dillinger), Ben Johnson (Melvin Pur­ vis), Michelle Phillips (BiMie Frechette), Cloris skerinde, at en eller anden engang har merabevægelser i halvcirkler rundt om Leachman (Anna Sage, damen i rødt), Harry Dean sagt, at »kvinden er naturlig, og derfor personer, der dominerer filmen (perso­ Stanton (Homer Van Meter), Steve Kanaly (Lester »Pretty Boy« Floyd), Richard Dreyfuss (George afskyelig«. Det er blot den værste flo­ nerne har alligevel ikke noget væsent­ »Baby Face« Nelson), Geoffrey Lewis (Harry Pier- skel i den lange række, der med jævne ligt at sige hinanden), eller af øjeblikke pont), John Ryan (Charles Mackley), Roy Jenson (Samuel Cowley), John Martino (Eddie Martin), mellemrum mere eller ofte mindre moti­ med hel eller delvis afklædthed. Read Morgan (»Big Jim« Wollard), Frank McRae veret dukker op i den i forvejen umoti­ På det psykologiske plan må filmen (Reed Youngblood), Jerry Summers (Tommy Car- roll), Terry Leonard (Theodore »Handsome Jack« verede handling: Piccoli spiller en tand­ siges at være et miskmask af misforstå­ Klutas), Bob Harris (Ed Fulton). Længde: 106 min. læge, der har indforskrevet en plastic- elser, medmindre man skal se samtlige Censur: Ingen. Udi: ASA. Prem: Nørreport 11.11.74. dukkedame i naturlig størrelse fra Japan. dens personer som psykiatriske dispu­ Indspilningen startet den 9, oktober 1972 med eks­ teriøroptagelser i Oklahoma. Hun bliver ham (og hans mor) til megen tats-objekter. trøst - for moderen dog kun som tålmo­ I 1966 iscenesatte japaneren Shohei dig tilhører ved eftermiddagsteen - men Imamura »Jinruigaku nyumon« (»The PS1 u l Filmen om Dillinger er John Milius’ heller ikke unatur er lykken, og dukken Pornographer«), en grotesk komedie om debut som instruktør, men den 30-årige er ham utro med viceværten før hun for en pornograf, der af et næsten ærligt Milius havde allerede forinden skabt sig at fuldende hans fornedrelse går på om­ hjerte mener, at han gør en samfunds­ et navn i Hollywood som en af film­ gang mellem en barakfuld spanske gæ­ nyttig gerning. Alt går ham imod, alle byens mest eftertragtede - og dyreste - stearbejdere. Piccoli kører hende og sig snyder og forfølger ham, og i bitterhed manuskriptforfattere. 300.000 dollars fik selv i Seinen, men dukken stiger som et lukker han sig til slut inde i en husbåd Milius for sit manuskript til John Huston- badedyr op til overfladen. En gammel for at konstruere en plasticdukke, der filmen »The Life and Times of Judge herre, såmænd Piccoli som bedstefar, kan opfylde alle de elementære erotiske Roy Bean«. Milius ville selv have in­ ser på hende fra en bro. behov, og som iøvrigt vil lade ham være strueret, men producenten John Fore­ Berlanga, der sammen med Bardem i fred. I filmens slutning river husbåden man foretrak en mere rutineret instruk­ gav spansk film en kort international op­ sig løs, og pornografen driver til havs tør, hvorefter Milius med — tilsyneladen­ mærksomhed i 50’erne, fik et kunstnerisk med sin opfindelse, sin umulige drøm. de - karakteristisk kampånd satte sin come-back i 1963 med »El verdugo« Han er en lille mand, der har været i pris klækkeligt i vejret. »If I seil out, (Bøddelen), der i grum komedieform an­ klemme i næsten alt, hvad man kan I seil out high«, har Milius senere sagt greb den spanske dødsstraf, men som i komme i klemme i, familien, hustruen, om episoden. John Milius er uddannet alle diktaturer sætter paranoiaen et plejebørnene, vennerne, rivaliserende på University of California, og i 1967 modangreb ind (måske i erkendelse af pornografer, kunder, politi etc., etc. Mi- 68 chel Piccolis tandlæge er derimod en Piccoli har i de senere år med forkær­ ■ NATURLIG STØRRELSE Grandeur nature/Life-Size/ltaliensk titel ej fundet. moderne buk i et moderne ægteskab lighed valgt roller af ofte bizart tilsnit, Frankrig/Spanien/ltalien 1974. P-selskab: Uranus med en dame, der tilsyneladende også Ferreris seneste par film, Francis Girods Productions France (Paris) - Les Productions Fox Europa (Paris) - Films 66 (Paris)ZJet Films (Barce- går ind for et udvidet mellemfolkeligt »Le Trio Infernal«, og nu denne, der blot lona)/Verona Produzione (Rom). P: Michel Piccoli. samvær. Hans lede ved levende damer øger vort kendskab til hans anatomiske, P-ledere: Henri Jaquillard, José Maria Herrero, Juan Estelrich. l-leder: Paul Lemaire. Instr: Luis er lige så umotiveret, som hendes gro­ let midaldrende fordele. Den er et bekla­ Garcia Berlanga. Instr-ass: José Maria Gutierrez, teske jalousi og nedværdigelse, da hun geligt sidespring - hvis det da ikke er et Umberto Angelucci, Christian Fuin. Manus: Luis Garcia Berlanga, Rafael Azcona. Fransk dialog: opdager dukke-rivalinden - hun prøver symptom - for ham, og måske også for Jean-Claude Carriére. Foto: Alain Derobe. Farve: bl. a. selv at lege dukke for ham. Der er andre ellers gode kræfter som Jean- Eastmancolor. Klip: Francoise Bonnot. Ark: Alexan­ dre Trauner. Kost: Bacha. Musik: Maurice Jarre. intet udover hastværk, der begrunder Claude Carriére (Bunuels medforfatter), Medv: Michel Piccoli (Michel), Valentine Tessier Piccolis avancerende sociale opløsning, Valentine Tessier, der spiller moderen, (Moderen), Rada Rassimov (Isabelle), Claudia Bianchi (Den unge pige), Queta Clavel (Maria og det er karakteristisk, at Berlanga og Michel Aumont, der spiller sagfører­ Luisa), Manolo Alexandre (José Luis), Ampara præsenterer afgørende dramatiske ven­ vennen. Soler Leal (Direktricen), Lucienne Hamon (Juliet­ te), Jenny Astruc (Janine), Jean-Claude Bercq depunkter i Piccolis liv halvt, d.v.s.
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