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Peter Jackson Peter Jackson Manden bag to af de største splatterfilmsucceser til dato, Bad Taste og Braindead, bliver inden længe allemandseje på linie med folk som George Lucas og Steven Spielberg, når hans filmatisering af Tolkiens elskede fantasy-trilogi, Lord of the Rings, får premiere over de kommende tre år. Peter Jackson, der er en af New Zealands få markante instruktører, laver film præget af en original og intelligent humor, men han er først og fremmest en entusiastisk genrefan Dengang Peter Jackson (f. 1961) med sin forevist en næsten færdig version af fil­ debutfilm Bad Taste (1987) skabte røre men, fik han fluks støtte til at gøre den verden over, var der nok ikke mange, der færdig. Det endelige produkt opnåede sin ville have gættet på at han en dag skulle store popularitet via ren word-of-mouth, lave en af sin tids dyreste film-trilogier. da den blev vist på alverdens filmfestiva­ Bad Taste er nemlig en førsteklasses ‘no ler. Historien går i al sin enkelhed ud på, budget’ og helt og aldeles kompromisløs at en flok rumvæsener har udryddet en splatterfilm. Næppe en passende genre for hel landsby, da (opgylpet!) menneskekød en kommende Hollywood-ping, men det skal udgøre den nye smagssensation i var der altså ikke nogen, der tænkte på i deres intergalaktiske fast food-kæde. Men 1987 og årene efter, hvor den ukonventio­ det får Det Hemmelige New Zealandske nelle new zealænder med største energi Antirumvæsen, med Peter Jackson selv i plaskede alverdens lærreder og fjernsyns- spidsen, heldigvis sat en stopper for. skærme til med ikke bare spande, men Meet the Feebles er bygget op omkring en tønder fulde af blod. Sammen med de to simpel præmis, som man kunne kalde efterfølgende film - dukkesplatteren Meet “Muppet Show efter lukketid”, men skønt the Feebles (1989) og den ultimative zom- den er dygtigt lavet og har sine lyse øje­ biesjasker, Braindead (1992) - står Bad blikke, er der lidt for meget latrinær Taste den dag i dag som en af de mest eks­ humor over denne grovkornede dukkesa­ treme af sin art. tire (som absolut ikke er for mindreårige, bl.a. bliver Kermit korsfæstet!). Alt i alt er Splatstick, intergalaktisk fast food og det en lettelse, da den ulykkeligt forelskede Kermit på korset. Det næsten rene ama­ flodhest Heidi (her spøger Miss Piggy) tørprodukt Bad Taste var fire år undervejs, massakrerer hele truppen med en maskin­ og da Jackson havde lidt svært ved at få pistol - og ja, dukker bløder! sine venner til at troppe op hver eneste Jacksons hidtil største succes kom med weekend, spillede han selv to af de centra­ Braindead, der modtog fuld støtte af le roller. Han påtog sig desuden - på klas­ NZFC og har vundet mindst 16 priser ver­ sisk Russ Meyer-vis - stort set samtlige den over. Filmen både definerede splatter- aspekter af produktionen, og da The New filmen som populær genre og fik den afli­ Zealand Film Commission (NZFC) fik vet med ét hug, da det simpelthen ikke er 135 Peter Jackson muligt at overgå Braindeads blodige exces­ som endog meget levende og livsglade ser uden at male kameralinsen helt rød. piger, der blot ikke er synderligt interesse­ Siden har splatterfilmen levet en stille rede i den virkelige verden og kun blom­ eksistens under jorden, hvor især tyske strer op og lever fuldt ud når de er sam­ instruktører som Jorg Buttgerei og men. Andreas Schnaas nok har været konse­ Alt det som Peter Jackson og hans faste kvente i deres tabubrydende genreafsøg­ med-manuskriptforfatter Frances Walsh ninger, men slet ikke toneangivende som (som han også er gift med) med metiku- Jackson og dennes helte - folk som løs research og medmenneskelig respekt George A. Romero, Stuart Gordon og den opnåede med Heavenly Creatures, var tidligere ‘splatstick-konge’ Sam Raimi - ellers i fare for at drukne i sensationalis­ har været det. Det der har gjort både Bad me, da en emsig tabloid-journalist fandt Taste og Braindead så populære, er deres ud af at den britiske krimi-forfatter Anne forrygende og ganske respektløse humor, Perry i virkeligheden var Judith Hulme. der hele tiden er i front, hvilket virker ret Til Jackson og Walshs bestyrtelse og vrede opblødende på de ellers morderiske exces­ blev denne opdagelse brugt til at markeds­ ser ens uskyldige øjeæbler udsættes for. føre filmen af dens distributør, Miramax. Det var nok også på den konto, at Brain­ Alligevel og trods sine små pletter, så dead slap uskadt gennem den, traditionelt som de ofte karikerede og overspillede meget snerpede, britiske censur-instans biroller (et Jackson-særkende), fremstår BBFC. Heavenly Creatures i al sin livsfejrende skønhed som et upoleret og tidløst Coming-of-age. Peter Jackson overraskede mesterværk. Særligt det medlevende, nær­ mange med det meget “voksne” og indføl­ mest euforiske steadicam, der helt fra dre­ te melodrama med fantasy-elementer, jebogsplan rent faktisk er orkestreret til Heavenly Creatures (1994, Engel min pigernes yndlingscrooner, Mario Lanza, engel), der med stor akkuratesse opridsede får filmen til at tippe over mod det subli­ hovedtrækkene i, samt baggrunden for en me. Men også de umådeligt præcise og berømt new zealandsk mordsag fra kongeniale præstationer af de to unge 1950’erne. Filmen - der som den eneste debutanter, Melanie Lynskey og Kate Jacksonfilm har haft dansk biografpremie­ Winslet, får filmen til at lyse af kærlighed re - er en ikke-sensationalistisk skildring og humor, for sidenhen at formørkes i den af de to utilpassede, men intelligente teen- næsten ubærlige, afsluttende tragedie, der age-piger Pauline Parker og Juliet Hulme brutalt efterlader publikum i dén virkelige og deres enestående udviklede fantasiuni­ verden, hvor Pauline og Juliet burde have vers, Borovnia. De stærke seksuelle under­ været sammen stadigvæk. toner i deres nærmest symbiotiske venin­ deskab er det element, der ultimativt fører Den glemte mesterinstruktør. Sit næste til deres fælles beslutning om at myrde projekt instruerede han sammen med Paulines religiøse og bekymrede mor, da vennen Costa Botes, og det var en time­ hun vil skille dem ad. Heavenly Creatures lang dokumentarfilm for new zealandsk er et særdeles vellykket forsøg på at tv. Forgotten Silver (1995) er en sensatio­ afdække de to mennesker bag den forfær- nel skildring af Colin McKenzie, en glemt 136 delige gerning - Pauline og Juliet fremstår m esterinstruktør fra stumfilmtiden, som Peter Jackson The Frighteners vakte stor jubel i det ellers ret jomfruelige rintalende kinesere! Filmen er i det hele filmland. Der var, blandt mange andre til­ taget et perfekt eksempel på den blanding tag, snak om at rydde et hjørne af lobbyen af begejstret pjatteri og virtuos fortællestil, i nationalmuseet til ære for Colin der gennemstrømmer Jacksons værk - hér McKenzie og hans nyrestaurerede livs­ blot forklædt som fakta. værk, den episke storfilm Salome. Vreden var derfor helt ude af proportioner, da det Hollywood. The Frighteners (1996) er nok afsløredes at der var tale om en helt igen­ en af de film, der vil stå tilbage som en nem fiktionaliseret historie, for Peter petitesse i karrieren, når de tre Tolkien- Jackson og Costa Botes havde narret de film har haft premiere, men den er nu et fleste med deres gennemførte “mocku- ganske m untert lille gadekryds. Dens mentary”, efter sigende endog adskillige blanding af spøgelses-adventurekomedie universitetslektorer. Forgotten Silver har og seriemorder-thriller er et yderst effek­ ellers lagt flere falskneri-spor ind - et tivt og ofte meget morsomt forsøg på at eksempel er et interview med en vis lave en PG-13-klassificeret Jackson-extra- Alexandra Nevski - og McKenzie opfinder vaganza (den endte dog med at få en R- både farvefilm, dolly, close ups og talefilm rating). The Frighteners markerer også langt før alle andre, i sidstnævnte er samt­ instruktørens første Hollywoodsam- lige medvirkende dog uheldigvis manda­ arbejde, med Robert Zemeckis som pro­ 137 Peter Jackson ducer og dennes medbragte stjerne, statere, at respekten er gensidig. En af de Michael J. Fox i hovedrollen (Jackson var ting, der har vakt mest bekymring, er den senere med til at lave visuelle effekter på sløje tilstand fantasyfilmen har befundet Zemeckis’ Contact, 1997). Trods Holly- sig i gennem flere årtier, hvilket netop var woodfinansiering og stigende stjernestatus én af årsagerne til at Jackson tog udfor­ vedbliver Jackson dog at indspille sine dringen op. Fian er desuden gået efter en film med sit faste hold i hjemlandet, hvor mere sober, historisk tilgang til Tolkiens Lord of the Rings også bliver produceret univers og har slækket radikalt på de sæd­ for en tredjedel af hvad den ville koste i vanlige hokus-pokus-effekter, som man USA. blandt andet kender dem fra tv’s masse­ producerede fantasy-serier. Så der var rig­ Bekymrede fans. Den nu snart 40-årige tigt mange bekymrede Tolkien-fans - hvil­ instruktør understreger gang på gang i ket vel især er forståeligt, når man påtæn­ interviews, at han først og fremmest selv ker Ralph Bakshis katastrofale tegnefilm­ er en fan - han glæder sig lige så meget filmatisering af den halve trilogi fra 1978 som hans egne fans gør, når der f.eks. er - men at de bekymrede efterhånden er optræk til en ny Sam Raimi-film. Den faldet i antal og er blevet erstattet af en respekt, han har for sine fans, skinner også stadigt voksende skare fans, summende af igennem i de utallige Q&A’s man kan forventningens glæde, det er både ganske finde på nettet, hvor man også kan kon­ vist og fuldt ud forståeligt. Kenneth T. de Lorenzi Filmografi 1987 Bad Taste 1989 Meet the Feebles 1992 Braindead (Dead Alive) 1994 Heavenly Creatures/Engel min engel 1995 Forgotten Silver (med Costa Botes) 1996 The Frighteners 2001 Lord of the Rings: The Fellowship of the Ring Lord of the Rings: The Two Towers (udsendes 2002) Lord of the Rings: The Return of the King (udsendes 2003).
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