and Vizualni esej: Filmske podobe dreves #2 | Revija Ekran

Vizualni esej: Filmske podobe dreves #2

and | 30. 12. 2017. | Ekran na ekranu, Esej

Epizoda 2: Jesen

Konec poletja zapiha hladen, oster veter in s seboj prinese prve znake jeseni. Sonce se začne spuščati in z gosto, zlato žarečo svetlobo obsije rjave pokrajine. Jesen je toplota zadnjih sončnih žarkov in mehkoba toplega šala, v katerega se zavijemo, ko hitimo skozi jutranjo meglo. Je sprehod po mnogobarvni listnati preprogi, polna košara gob, vonj pečenega kostanja in okus po mladem vinu. V filmu Odhod (Departure, 2015) prinese sladko-grenko slovo od poletne ljubezni, v Padanju (The Falling, 2014) pa začetek novega šolskega leta. Ko po oknih zaigrajo dežne kaplje, je najlepši čas za skodelico vročega čaja in najljubši roman. Jesen je tudi čas razpada, gnilobe, praznik čarovnic in horror filmov, v katerih se iz temačnih gozdov prikradejo Zlobni mrtveci (The Evil Dead, 1981).

Najlepši jesenski filmi so posneti v Novi Angliji, ki že od Davida Henrija Thoureauja slovi po svojih čudovito obarvanih gozdovih. S koncem poletja se v jesen življenja vdove Cary (Jane Wyman) v klasiki Vse, kar dovoli nebo (All That Heaven Allows, 1955) prikrade nežna melanholija. V zvesti predelavi omenjene Sirkove mojstrovine, filmu Daleč od nebes (Far from Heaven, 2002), pa se Todd Haynes z vsakim najmanjšim detajlom pokloni bogati jesenski paleti – spomnite se samo tiste čudovite temno oranžne obleke, v kateri se Cathy (Julianne Moore) pred hišo poslavlja od svojih prijateljic. Globoko rumene in rdečkasto oranžne pokrajine Vermonta so očarale tudi Alfreda Hitchcocka, ki je tja postavil svojo premalo poznano črno komedijo Težave s Harryjem (The Trouble With Harry, 1955).

A težav ni bilo samo s Harryjem, pač pa tudi s snemanjem filma, ki je bilo predvideno za zgodnjo jesen leta 1954, ko naj bi bila drevesa v Craftsburyju ravno pravih odtenkov. Hitchcock je film želel posneti na lokaciji, ko pa je ekipa 27. septembra tja prispela, je skoraj vse listje že odpadlo z dreves, saj je dober teden prej mesto opustošilo hudo neurje. Kljub temu da so v bližini našli nekaj nadomestnih lokacij, so morali ključne prizore posneti v studiu. Vanj so scenografi postavili umetna drevesa, na katera so potrpežljivo, drugega za drugim, lepili liste, ki so jih v velikih škatlah z več tovornjaki pripeljali iz Vermonta.

Jesen je za letne čase to, kar je technicolor za film. Ognjemet bogato nasičenih barv, ki se skozi gozdove in v soncu žareče drevesne krošnje razširi kot požar. Za trenutek se vse razpoči v močne in intenzivne odtenke živahno rumene, jantarjeve, oker, oranžne, živo rdeče, škrlatne, vijolične, kostanjeve in temno rjave barve, ki se bohotijo ob jasni modrini neba ali pa se lesketajo v dežju. Čudovite barve so zadnja predstava, grand finale, preden veter in dež še zadnje liste nepreklicno odneseta s seboj. Gola narava se obrne vase, pokrije se s plaščem melanholije in pripravi na počitek. »Po peklu poletja je jesen maščevanje introvertov,« pravi Charlotte Mendelson.

Episode 2: Autumn

Near the end of Summer, a light yet chilling wind brings the first smell of Autumn on its wings. The sun comes down to earth and illuminates brown fields with thick golden light. Autumn is the last warmth of sunshine and the first softness of a cosy scarf snuggled around us as we shiver through the morning mist. Autumn is a long walk on the varicoloured leaf carpet, a basket full of mushrooms, the smell of roasted chestnuts and the taste of young wine. In Departure (2015), Autumn brings a bittersweet goodbye to the summer (of) love, in The Falling (2014) the beginning of a new schoolyear. The concerts of raindrops on the window panes create the perfect backdrop for a hot cup of tea and a good book. Autumn is also the time of decay, rot, Halloween and horror films in which The Evil Dead (1981) creep out of the dark forests.

New England, a region that has been known for its gorgeous woods since Henry David Thoreau first walked through them, offers a majestic stage for some of the most beautiful films set in Autumn. Late summer days bring tender melancholy in the autumn of life of the widow Cary (Jane Wyman) in a classical Sirk melodrama All That Heaven Allows (1955). In Far from Heaven (2002), a faithful remake of Sirk’s masterpiece, director Todd Haynes salutes the rich and luscious Autumn colour palette in every single detail. Just think of the gorgeous dark orange dress in which Cathy (Julianne Moore) says goodbye to her friends after dinner. Yellow, orange and red landscapes of Vermont also captivated the imagination of Alfred Hitchcock, who set his too little appreciated macabre comedy The Trouble with Harry (1955) amongst its dazzling vistas.

Težave s Harryjem

Alas, the trouble was not just with Harry, but also with the making of the film. The shooting was planned for early Autumn in 1954 when the trees in Craftsbury should be in perfect colour scheme. Hitchcock wanted to shoot the film on location, but when the team arrived on September 27th, all the leaves were gone. Trees were left stripped off by a big storm that had whizzed through the city a week before. Although the team was able to find some replacement locations, they still had to shoot all the main scenes in the studio. The scenographers built fake tress and patiently glued on all of the individual leaves that were brought by trucks from Vermont in big boxes.

Autumn is for the seasons what Technicolor is for film. Dazzling fireworks of heavily saturated colours inflate the woods and lit up treetops like wild fire. Everything erupts in strong hues of brisk yellow, amber, ochre, dark orange, bright red, scarlet, crimson, violet, russet, maroon, auburn and mahogany; shades that pop perfectly against the bright blue sky or glimmer mystically in the rain. Amazing colours of the leaves are the final showdown, grand finale, before the wind and rain ultimately take them down. Bare nature then covers itself with the mantle of melancholy and prepares for rest. Or as Charlotte Mendelson puts it, “after the hell of summer, autumn is the introvert’s revenge”.