Latvijas jaun\u0101kais kino gr\u0101v\u0113js, re\u017eisora Oskara Rupenheita dr\u0101ma \u201cTum\u0161zilais eva\u0146\u0123\u0113lijs\u201d, kas skat\u012bt\u0101jus aizrauj uz devi\u0146desmitajiem gadiem, piedz\u012bvojis negaid\u012btu notikumu. Filmas popularit\u0101te un t\u0101s rad\u012bt\u0101 laikmeta atmosf\u0113ra, kas atspogu\u013co patva\u013cu, korupciju un ne\u017e\u0113l\u012bbu, ir tik spilgta, ka, \u0161\u0137iet, iedvesmojusi ne tikai skat\u012bt\u0101jus, bet ar\u012b k\u0101du zagli. Nesen no filmai velt\u012bt\u0101 stenda nozagti rokudzel\u017ei \u2013 viens no filmas vizu\u0101lajiem elementiem, kas \u013c\u0101va apmekl\u0113t\u0101jiem iejusties devi\u0146desmito gadu t\u0113los.<\/p>\n
Devi\u0146desmito gadu realit\u0101te kino un dz\u012bv\u0113<\/p>\n
Filma \u201cTum\u0161zilais eva\u0146\u0123\u0113lijs\u201d pied\u0101v\u0101 autentisku un skarbu ieskatu Latvijas v\u0113stures posm\u0101, ko daudzi atceras k\u0101 \u201cme\u017eon\u012bgos devi\u0146desmitos\u201d. Tas bija laiks, kad p\u0113c neatkar\u012bbas atg\u016b\u0161anas sabiedr\u012bb\u0101 vald\u012bja haoss, nezi\u0146a un bie\u017ei vien ar\u012b noziedz\u012bba. Likuma sargiem n\u0101c\u0101s str\u0101d\u0101t apst\u0101k\u013cos, kur robe\u017ea starp labo un \u013cauno bija \u013coti pl\u0101na. Filmas galvenais varonis, jaunais policists Rom\u0101ns Skulte, non\u0101k \u0161\u012bs realit\u0101tes vid\u016b, c\u012bnoties gan ar noziedz\u012bgo pasauli, gan ar sist\u0113mas iek\u0161\u0113jiem tr\u016bkumiem un mor\u0101l\u0101m dilemm\u0101m. Filmas veidot\u0101ji \u012bpa\u0161i uzsver, ka t\u0101 nav vienk\u0101r\u0161i dekor\u0101cija, bet gan akt\u012bvs st\u0101sta elements, kas atspogu\u013co cilv\u0113ku likte\u0146us un pretrunas.<\/p>\n
\u0160\u012b laikmeta att\u0113lojums ir tik p\u0101rliecino\u0161s, ka daudzi skat\u012bt\u0101ji izj\u016bt sp\u0113c\u012bgu emocion\u0101lu piepild\u012bjumu un pat nostal\u0123iju. Papildus filmas saturam, pirmizr\u0101d\u0113 tika rad\u012bta \u012bpa\u0161a devi\u0146desmito gadu atmosf\u0113ra, pied\u0101v\u0101jot viesiem iesp\u0113ju ne tikai iejusties t\u0113los, bet ar\u012b fotograf\u0113ties pie tematiski veidotiem stendiem. Viens no \u0161iem elementiem, kas pie\u0161\u0137\u012bra autentiskumu un \u013c\u0101va izbaud\u012bt devi\u0146desmito gadu \u201cgar\u0161u\u201d, bija tie\u0161i rokudzel\u017ei.<\/p>\n
Negaid\u012bta z\u0101dz\u012bba un t\u0101s interpret\u0101cijas<\/p>\n
Tom\u0113r \u0161\u012b rado\u0161\u0101 un interakt\u012bv\u0101 pieeja piedz\u012bvoja negaid\u012btu pav\u0113rsienu \u2013 no filmas stenda tika nozagti rokudzel\u017ei. \u0160is notikums, lai ar\u012b \u0161\u0137ietami s\u012bks, raisa interesantas p\u0101rdomas. Vai \u0161\u012b ir tikai nejau\u0161a z\u0101dz\u012bba, vai tom\u0113r k\u0101da ironiska atbilde uz filmas rad\u012bto atmosf\u0113ru? Da\u017ei koment\u0113t\u0101ji jau izteiku\u0161i savu \u201cprofesion\u0101lo\u201d viedokli, ironiski nor\u0101dot, ka zaglis, iesp\u0113jams, r\u012bkojies, \u201ciev\u0113rojot filmas stilu\u201d un pa\u0146emot to, ko var pa\u0146emt. Cits skat\u012bjums var\u0113tu b\u016bt, ka \u0161\u0101ds akts, lai ar\u012b neleg\u0101ls, simboliski atspogu\u013co devi\u0146desmito gadu br\u012bv\u012bbas (vai dr\u012bz\u0101k \u2013 patva\u013cas) saj\u016btu, kad likumi bie\u017ei vien tika apieti.<\/p>\n
\u0160\u012b z\u0101dz\u012bba ir k\u0101 spogulis, kas atstaro devi\u0146desmito gadu sabiedr\u012bbas noska\u0146ojumu un to, k\u0101 \u0161\u012b v\u0113stures noda\u013ca joproj\u0101m rezon\u0113 m\u016bsdien\u0101s. T\u0101 atg\u0101dina par laiku, kad daudzi sabiedr\u012bbas sl\u0101\u0146i piedz\u012bvoja gan jaunas iesp\u0113jas, gan ar\u012b brut\u0101lu realit\u0101ti, radot pretrun\u012bgu un bie\u017ei vien b\u012bstamu vidi. Filmas pan\u0101kumi un t\u0101s izrais\u012bt\u0101 rezonanse apliecina, ka devi\u0146desmitie joproj\u0101m ir aktu\u0101la un sp\u0113c\u012bga t\u0113ma Latvijas sabiedr\u012bb\u0101, izraisot gan diskusijas, gan ar\u012b negaid\u012btus notikumus.<\/p>\n
Filmas konteksts un noz\u012bme<\/p>\n
\u201cTum\u0161zilais eva\u0146\u0123\u0113lijs\u201d nav tikai st\u0101sts par vienu policistu, bet gan par cilv\u0113ka c\u012b\u0146u ar saviem principiem un mor\u0101lo kompasu sare\u017e\u0123\u012btos apst\u0101k\u013cos. Filma, kur\u0101 galvenok\u0101rt piedal\u0101s neprofesion\u0101li aktieri, pie\u0161\u0137ir st\u0101stam \u012bpa\u0161u autentiskuma un dzi\u013cuma saj\u016btu. Tas ir darbs, kas liek aizdom\u0101ties par izv\u0113l\u0113m, god\u012bgumu un to, cik t\u0101lu cilv\u0113ks gatavs iet, lai pan\u0101ktu taisn\u012bgumu vai vienk\u0101r\u0161i izdz\u012bvotu. \u0160is devi\u0146desmito gadu atspogu\u013cojums kino, k\u0101 ar\u012b ar to saist\u012btie notikumi, apliecina, ka pag\u0101tne joproj\u0101m dz\u012bvo m\u016bsos, un t\u0101s sekas joproj\u0101m ir j\u016btamas.<\/p>\n","protected":false},"excerpt":{"rendered":"Latvijas jaun\u0101kais kino gr\u0101v\u0113js, re\u017eisora Oskara Rupenheita dr\u0101ma \u201cTum\u0161zilais eva\u0146\u0123\u0113lijs\u201d, kas skat\u012bt\u0101jus aizrauj uz devi\u0146desmitajiem gadiem, piedz\u012bvojis negaid\u012btu…\n","protected":false},"author":2,"featured_media":34768,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[5585,89,90,35,39,38,36,37,34,100,40,10273,10272,1947],"class_list":{"0":"post-34767","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-devindesmitie-gadi","9":"tag-entertainment","10":"tag-izklaide","11":"tag-latvia","12":"tag-latvian","13":"tag-latviesu","14":"tag-latviesu-valoda","15":"tag-latviesuvaloda","16":"tag-latvija","17":"tag-latvijas-kino","18":"tag-lv","19":"tag-noziedziba-latvija","20":"tag-rokudzelzu-zadziba","21":"tag-tumszilais-evangelijs"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115460501917490078","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/34767","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=34767"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/34767\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/34768"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=34767"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=34767"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=34767"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}