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NAJGLEDANIJI JUGOSLOVENSKI FILM U 2010.


Gotovo je paradoksalno da je najgledaniji jugoslovenski film na prostoru bivše SFRJ slovenački GREMO MI PO SVOJE Mihe Hočevara ako imamo u vidu da su Srbija i Hrvatska znatno mnogoljudnije zemlje sa većom potencijalnom publikom. S druge strane, uspeh filma GREMO MI PO SVOJE je potvrda naše davnašnje teze da omladinski film ima trajnu privlačnost za jugoslovensku publiku, a o prethodnom Hočevarevom filmu DISTORZIJA smo pisali pre tačno godinu dana OVDE. Za Dan Republike poklanjamo vam tekst Nenada Polimca koji je objavljen u subotnjem Jutarnjem Listu u kome je objašnjen ovaj fenomen:

Slovenija je zasigurno jedino filmsko tržište u svijetu koje se othrvalo najezdi „Harryja Pottera i darova smrti“. Naime, kada je prošlog vikenda sedmo izdanje nevjerojatno popularnog serijala po romanima J.K. Rowling stiglo u slovenska kina, moralo se zadovoljiti drugim mjestom na top listi. Prvo je čvrsto držala domaća omladinska komedija „Gremo mi po svoje“ (u slobodnom hrvatskom prijevodu – „Na naš način“), kojoj je to već treći tjedan kako se nalazi na toj poziciji. U četvrtak ujutro doznalo se da je film dosad pogledalo 95 tisuća i 450 gledatelja, što je upravo fantastičan rezultat za zemlju s tek nešto malo više od dva milijuna stanovnika, a ovog vikenda brojka će se popeti na preko 100 tisuća.

Rezultat je fantastičan i stoga što slovenske filmove – uostalom kao i hrvatske – javnost najčešće percipira kao neprivlačne za publiku. Najpoznatiji slovenski redatelj Damjan Kozole prošle je godine snimio odličan film „Slovenka“, dramu o studentici koja svoj standard popravlja prostitucijom, i skupio tek nešto više od 20 tisuća gledatelja – unatoč prizorima seksa, nešto malo nasilja i blistavom nastupu Nine Ivanišin. Još je slabije prošao hvaljeni politizirani triler „Pejzaž broj 2“ Vinka Mordendorfera, kojeg je vidjelo tek šest tisuća gledatelja.

Ipak, tijekom posljednjeg desetljeća bilo je i hitova - i to najvećih u povijesti slovenske kinematografije. Najprije je 2003. komedija Branka Đurića „Kajmak i marmelada“ postavila rekord nove slovenske države – 155 tisuća gledatelja – što je nadmašivalo i rezultate ostvarene u bivšoj Jugoslaviji, dok kinu još nisu prijetili televizija i video. I kada se činilo da je bosanski „gastarbajter“, koji je u međuvremenu postao kralj slovenskog humora (serija „Naša mala klinika“ i dr.), postavio ljestvicu koju je nemoguće preskočiti, stigao je „Pijetlov doručak“, ekranizacija kontroverznog romana Ferija Lajnščeka, sa Severinom Vučković u gostujućoj epizodi. Film je 2007. imao 183 tisuće posjetitelja, što znači da ga je vidio gotovo svaki deseti Slovenac. Pa dok su „Kajmak i marmelada“ i „Pijetlov doručak“ svoje rekordne brojke ostvarili kroz nekoliko mjeseci, što znači da ih je publika postupno otkrivala, donekle i usmenom predajom, „Gremo mi po svoje“ je poput lokomotive. Ukoliko ostvari rezultat – što je vrlo realna procjena – između 150 i 200 tisuća gledatelja, bit će to u neusporedivo kraćem razdoblju nego spomenuta dva filma.

U produkcijskoj kompaniji „Vertigo/Emotionfilm“, koju vodi najpoznatiji slovenski producent Danijel Hočevar (sudjelovao u mnogim hrvatskim, bosanskim, srpskim, makedonskim i bugarskim filmovima – od „Karaule“ do „Sivog kamione crvene boje“), objašnjavaju mi da to nije stvar slučaja nego promišljenog koncepta i iscrpljujućeg rada. Scenarij Mihe Hočevara (nije u nikakvom srodstvu s producentom), odobren za realizaciju od Filmskog sklada, slovenskog filmskog fonda, još početkom 2008. godine, ciljano se usmjerio dječjoj i omladinskoj populaciji, koju je slovenska kinematografija u tom desetljeću potpuno zaboravila, iako je žanr – još od legendarnog filma „Kekec“ iz 1951. – uvijek bio iznimno omiljen. Drugo, protagonisti filma su mali izviđači (tj. „taborniki“): trenutačno ih u Sloveniji ima 20 tisuća, no mnogi su iz mlađe, srednje i starije generacije također prošli kroz taj pokret, što znači da je svijest o tome čime se film bavi među potencijalnim gledateljima nevjerojatno razvijena. Treće, slovenski su filmovi uglavnom urbani, pa je „Gremo mi po svoje“ – koji se snimao u Triglavskom narodnom parku – odlučio pokazati zaboravljene prirodne ljepote te zemlje.

Redatelj Miha Hočevar lucidno je dodijelio ulogu starješine, koji klincima ide na živce svojom komičnom strogošću, komičaru Juriju Zrnecu koji je u Sloveniji uživao golemu popularnost zahvaljujući svom showu na POP TV-u (na stadionu Stožice nastupao je pred 22 tisuće gledatelja), a na filmu je bio gotovo „nepotrošen“. Zrnec je pritom izvrstan glumac (pogledajte na YouTubeu kako oponaša pomodnog slovenskog filozofa Slavoja Žižeka) i njegova međuigra s djecom naturščicima već je u startu slutila na dobitnu kombinaciju.

Polaznih pretpostavki projekta mogao se dosjetiti i neki hrvatski filmaš, međutim, sve drugo što je pratilo realizaciju tog filma bilo bi mu nedostupno. „Gremo mi po svoje“, naime, realiziran je za četrdesetak dana snimanja na lokacijama za dosta skromnu cijenu od 600 tisuća eura (mnogi hrvatski filmovi koštaju više), no uživao je pogodnost usluga najvećeg slovenskog filmskog poduzeća Viba film, koje država stimulira da podupire kinematografiju. Zamislite kad bi naši redatelji tako nešto mogli očekivati od Jadran filma?! Također, slovenska nacionalna televizija ušla je u projekt sa svojom tehnikom (to je nekad radio i HRT, no sad je u takvom glibu da je pitanje hoće li ikad ponovno surađivati s kinematografijom), međutim, kako je to i kod nas bio slučaj, nije htjela uložiti novac: kada su shvatili kakav je film hit, požalili su što nisu naručili seriju, no bilo je kasno.

Pripreme za plasman filma za naše su prilike čista „znanstvena fantastika“. Slovenski filmski fond ima poseban budžet za distribuciju i promociju filmova s izglednim komercijalnim potencijalom u rasponu od 20 do 30 tisuća eura. Danijel Hočevar je stoga mogao naručiti 11 kopija filma (poslije je dodao još tri) kojima je pokrio čitavu Sloveniju. Usporedite to s hrvatskom situacijom! „Što je muškarac bez brkova“ krenuo je u kina početkom 2006. sa skromnih pet kopija, a kada je bilo očito da je u pitanju megahit, dodana je još jedna. Da se radilo drukčije, film je mogao imati i preko 200 tisuća gledatelja. Zatim, u proljeće prošle godine počelo je prikazivanje „Metastaza“, filma za koji je bilo jasno da ima velik komercijalni potencijal. Opet, u distribuciji se našlo samo šest kopija, pa je film skupio tek 27 tisuća gledatelja.

Pa dok u Hrvatskoj imamo faktični monopol lanca CineStar, u Sloveniji – koja ima neusporedivo bolju kino-mrežu – za prevlast se bore dva lanca, Kolosej i Tuš. U takvim uvjetima nije bilo teško uspostaviti pravilo da slovenski film dobiva 50 posto prihoda od kino ulaznice (stranom otpadne samo 40 posto „kolača“): naknada distributeru za njegove usluge iznosi 20 do 25 posto, što znači da producent može računati na nešto manje od 40 posto bruto prometa. Primjer filma „Što je muškarac bez brkova“ je upravo porazan: prikazivaču (uglavnom CineStar) pripalo je 60 posto, distributer (sestrinsko CineStarovo poduzeće Blitz) uzeo je 50 posto od prihoda producenta, pa je potonji završio s mizernih 20 posto od ukupnog bruto prihoda. Komercijalni film u Hrvatskoj je naprosto nemoguć.

Redatelj Miha Hočevar sam je napravio „foršpan“ za „Gremo mi po svoje“, za što je zbilja bio kompetentan, jer slovi kao jedan od najboljih slovenskih realizatora reklamnih spotova (njegov spot za list „Delo“, u kojem odgovorni urednik Mitja Meršol hoda po rubu nebodera, upravo je fascinantan). „Foršpan“ mu nije bombastičan i samoreklamerski nego ironičan, zafrkantski, što je mlađa publika odlično prihvatila: na YouTubeu ima tek nešto manje od sto tisuća „klikova“. Film je dobio i profil na Facebooku, koji je izazvao popriličnu pozornost, pa su ga se dohvatila i revijalna izdanja, koja su – po sudu dvojice Hočevara – puna presudnija po komercijalni uspjeh filma nego ona seriozna. Kada je film stigao u kina, već su svi znali za njega, pa odatle i takva euforija već u prvom tjednu prikazivanja.

Dio slovenskih kritičara nije bio blag u ocjenama (utjecajni Marcel Štefančić jr. u „Mladini“ dao mu je oznaku „proti“, tj. da je protiv njega), no na internetskim forumima sudovi su upravo suprotni. „Gremo mi po svoje“ očito je spretno prenio duh, kulturu i govor današnjih slovenskih klinaca, posjeduje humor koji funkcionira među ciljnom publikom, a ima i nešto malo erotike, što nije na odmet.

Danijel Hočevar upozorava me da se ni sa eventualnih 200 tisuća gledatelja ne bi moglo računati na eventualni profit po hollywoodskim standardima, za tako nešto trebalo bi bar pola milijuna, što je u Sloveniji nemoguće ostvariti. Ipak, uvjeren je da će uspjeh njihove komedije potaknuti Filmski sklad da njeguje komercijalni film podjednako kao i art film: kinematografija bez publike ipak je dosta otužni fenomen. Dva Hočevara najradije bi se odmah bacili na pripremu nastavka „Gremo mi po svoje“, ali bez potpore fonda o takvom projektu nema govora: što znači da treba čekati bar godinu dana da se tako nešto ostvari.

Može li slovenska kinematografija postati vodeća u regiji po dosluhu sa svojom publikom (hrvatska je iz te utakmice zasad isključena, iako u HAVC-u, našem filmskom fondu, najavljuju značajne promjene po domaći film)? Slovenski megahitovi zasad su više iznimka negoli pravilo, dok srbijanska kinematografija – iako joj je kino mreža u katastrofalnom stanju – još njeguje katkad i vrlo ozbiljan populistički film, koji je procvao devedesetih, usprkos diktaturi Slobodana Miloševića. Tamo su danas nerealni rezultati „Zone Zamfirove“ (milijun i 200 tisuća gledatelja) ili „Ivkove slave“ (700 tisuća gledatelja), što Slovencima daje izvjesnu prednost, jer sa četverostruko manjim brojem stanovnika postižu iste rezultate. Stvar je samo u tome da ih počnu ostvarivati puno češće.

A evo i lista koje ilustruju situaciju proteklih godina:

Hrvatska

1. Što je muškarac bez brkova (2005) 152 379
2. Duh u močvari (2006) 55 692
3. Karaula (2006) 43 009
4. Metastaze (2009) 27 022
5. Kino Lika (2008) 18 211
6. Neka to ostane među nama (2010) 17 723
7. Pjevajte nešto ljubavno (2007) 17 645
8. Libertas (2006) 11 131

Ex Yu u hrv. kinima

1. Grbavica (2006) 22 166
2. Na putu (2010) 19 164
3. Duhovi Sarajeva (2007) 12 666

Srbija

1. Čarlston za Ognjenku (2008) 149 709
2. Čitulja za Eskobara (2008) 136 052
3. Crni Gruja i kamen mudrosti (2007) 131 948
4. Sveti Georgije ubiva aždahu (2009) 125 019
5. Mi nismo anđeli 3 (2006) 114 474
6. Karaula (2006) 101 461
7. Četvrti čovjek (2007) 79 054
8. Šišanje (2010)* 58 417

* Još se prikazuje

Slovenija

1. Pijetlov doručak (2007) 182 965
2. Gremo mi po svoje (2010)* 95 450
3. Slovenka (2009) 20.177
4. Karaula (2006) 12.345
5. Estrellita (2008) 12.348
6. Instalacija ljubavi (2007) 9.906
7. Teah (2008) 7.294
8. Pejzaž br. 2 (2008) 6.331

* Još se prikazuje

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Dr. Dre partnered with high-end audio equipment manufacturer Monster to launch a new brand, mixing equal parts marketing acumen and design. Called Beats by Dr. Dre, the brand's first product is a $349 pair of über-headphones for music afficionados.To design the Beats, the doctor partnered with respected industrial designer Robert Brunner (BusinessWeek, 102207), an Apple (AAPL) alumnus, who now runs San Francisco design firm Ammunition. Brunner's approach (BusinessWeek, 9308) is to create specialized hit pro.Aliexpressite oducts that also go a long way towards establishing a new brand.SHRINK-WRAPPING YOUR BRAINThe collaboration turned out a good-looking, great-sounding set of 'phones. Like other headsets in the same price range from Bose, Sony (SNE), and Panasonic (PC), the Beats employ so-called noise-canceling technology. A tiny, built-in microphone records ambient noise, and sophisticated electronics then generate a corresponding sound wave that more or less el.ite soccer iminates background chatter.Turning on the Beats is a little like having your head shrink-wrapped. A flick of the switch on the side of the headphones instantly muffles sounds of the outside world with an eerie whoosh. The effect is impressive, as a colleague of mine, who wears headgear from a shooting range to escape the din of our boisterous newsroom, happily testified when he tried the Beats.With the ambient noise out of the way, the Beats produc.ite soccer store deep, rich bass as well as clear, distinct treble. Does this stellar sound enable one to, as Dre hoped in conceiving the product, "hear what the artists hear and listen to the music the way they should—the way I do?" Hard to say. But to my ears, from Mariah Carey to Mozart, the Beats outperform similarly priced headphones, including the industry standard Bose QuietComfort 3.GODFATHER STYLEAesthetically, the headphones are decidedly rap don, made from austere black rubber with brooding red accents. The mix of soft-touch plastics and sculpted metal bezels give the headphones a luxurious heft. But Brunner's design print

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