{"id":1115,"date":"2026-08-15T12:07:37","date_gmt":"2026-08-15T12:07:37","guid":{"rendered":"https:\/\/worldofruprecht.eu\/?p=1115"},"modified":"2026-08-15T12:16:02","modified_gmt":"2026-08-15T12:16:02","slug":"cerny-dest-vizualni-pecka-hollywoodska-klise-a-ztracena-tvar-osaky","status":"publish","type":"post","link":"https:\/\/worldofruprecht.eu\/?p=1115","title":{"rendered":"\u010cern\u00fd d\u00e9\u0161\u0165: Vizu\u00e1ln\u00ed pecka, hollywoodsk\u00e1 kli\u0161\u00e9 a ztracen\u00e1 tv\u00e1\u0159 \u00d3saky"},"content":{"rendered":"\n

Ned\u00e1vno jsem si pustil thriller \u010cern\u00fd d\u00e9\u0161\u0165 (Black Rain) od Ridleyho Scotta z roku 1989. M\u011bl jsem k tomu jeden hlavn\u00ed d\u016fvod. Ne\u0161lo mi ani tak o Michaela Douglase v roli drsn\u00e9ho poldy, jako sp\u00ed\u0161e o moji ned\u00e1vnou cestu do Japonska. Na p\u0159elomu kv\u011btna a \u010dervna jsme toti\u017e str\u00e1vili n\u011bjak\u00fd \u010das p\u0159\u00edmo v \u00d3sace. Z\u00e1\u017eitek z tepaj\u00edc\u00edho supermodern\u00edho m\u011bsta ve mn\u011b st\u00e1le dozn\u00edv\u00e1, a tak m\u011b logicky zaj\u00edmalo, jak tahle metropole vypadala na konci osmdes\u00e1t\u00fdch let v dob\u011b vrchol\u00edc\u00edho japonsk\u00e9ho ekonomick\u00e9ho boomu.<\/p>\n\n\n\n

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Scott zkr\u00e1tka \u0159emeslo ovl\u00e1d\u00e1. Po vizu\u00e1ln\u00ed str\u00e1nce je film naprost\u00e1 lah\u016fdka. Kamera Jana de Bonta kouzl\u00ed s neony, kou\u0159em a st\u00edny takov\u00fdm zp\u016fsobem, \u017ee z tehdej\u0161\u00ed \u00d3saky d\u011bl\u00e1 fascinuj\u00edc\u00ed, t\u00e9m\u011b\u0159 kyberpunkov\u00fd labyrint, do kter\u00e9ho se chcete pono\u0159it. K tomu si p\u0159idejte v\u00fdborn\u011b zvl\u00e1dnut\u00e9 tempo. Film neztr\u00e1c\u00ed dech a i d\u00edky hutn\u00e9 atmosf\u00e9\u0159e neust\u00e1le t\u00e1hne d\u011bj kup\u0159edu.<\/p>\n\n\n\n

Zde ale bohu\u017eel nar\u00e1\u017e\u00edme na limity hollywoodsk\u00e9 produkce t\u00e9 doby. Douglas\u016fv detektiv Nick Conklin je arogantn\u00ed a drsn\u00fd typ, co\u017e k \u017e\u00e1nru asi pat\u0159\u00ed a d\u00e1 se to akceptovat. Mnohem v\u00edc ale zamrz\u00ed vykreslen\u00ed samotn\u00fdch Japonc\u016f. Film serv\u00edruje jednu za\u017eitou stereotypn\u00ed p\u0159edstavu za druhou. Japonci jsou zde \u010dasto zredukov\u00e1ni na chod\u00edc\u00ed \u0161ablony \u2013 od upjat\u00fdch byrokrat\u016f, kte\u0159\u00ed nedok\u00e1\u017eou ud\u011blat krok bez manu\u00e1lu, a\u017e po jakuzu oh\u00e1n\u011bj\u00edc\u00ed se star\u00fdmi kodexy cti a me\u010di. Cel\u00e9mu kulturn\u00edmu pozad\u00ed chyb\u00ed hlub\u0161\u00ed uv\u011b\u0159itelnost a z dne\u0161n\u00edho pohledu to p\u016fsob\u00ed docela plo\u0161e.<\/p>\n\n\n\n

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Co u m\u011b nakonec z\u00e1sadn\u011b zvedlo celkov\u00e9 hodnocen\u00ed, byla pr\u00e1v\u011b topografick\u00e1 hra a srovn\u00e1v\u00e1n\u00ed s realitou. Cel\u00fd film jsem se bavil t\u00edm, \u017ee jsem v z\u00e1b\u011brech hledal lokace, kter\u00fdmi jsem p\u0159ed p\u00e1r m\u011bs\u00edci s\u00e1m proch\u00e1zel. Byla to vlastn\u011b ohromn\u00e1 lekce z pom\u00edjivosti. \u00d3saka roku 1989 a dne\u0161n\u00ed m\u011bsto jsou dv\u011b odli\u0161n\u00e9 entity. Vezm\u011bte si centrum D\u00f3tonbori a zn\u00e1m\u00fd most Ebisuba\u0161i. Ve filmu hraje kl\u00ed\u010dovou roli extravagantn\u00ed modern\u00ed budova Kirin Plaza. Pokud se po most\u011b projdete dnes, nenajdete po n\u00ed ani stopu. V roce 2007 ji zbourali a nahradili standardn\u00edm prosklen\u00fdm obcho\u010f\u00e1kem s prodejnou H&M. \u00da\u0159ady tehdy mimochodem filma\u0159\u016fm zak\u00e1zaly to\u010dit nejdivo\u010dej\u0161\u00ed ak\u010dn\u00ed sc\u00e9ny p\u0159\u00edmo na frekventovan\u00e9 D\u00f3tonbori, tak\u017ee rva\u010dku s motork\u00e1\u0159i na ulici pln\u00e9 neon\u016f museli doto\u010dit ve \u010dtvrti Juso a kulisy m\u00edrn\u011b kamuflovat.<\/p>\n\n\n\n

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Podobn\u00fd \u0161ok p\u0159ich\u00e1z\u00ed p\u0159i sc\u00e9n\u011b v monument\u00e1ln\u00ed n\u00e1dra\u017en\u00ed hale s klenbami a lustry, kde dojde na jedno z hlavn\u00edch z\u00fa\u010dtov\u00e1n\u00ed. Jednalo se o starou \u010d\u00e1st stanice Umeda postavenou v roce 1929. Dnes byste tuto architektonickou n\u00e1dheru hledali marn\u011b, p\u0159ed lety ustoupila masivn\u00edmu n\u00e1kupn\u00edmu komplexu.<\/p>\n\n\n\n

P\u0159izn\u00e1v\u00e1m se bez mu\u010den\u00ed, \u017ee kdybych letos nes\u00e1l atmosf\u00e9ru \u00d3saky na\u017eivo, netla\u010dil se davem u Ebisuba\u0161i a neodskakoval si lovit stavebnice do \u00fa\u017easn\u00e9ho Volks showroomu, asi by u m\u011b \u010cern\u00fd d\u00e9\u0161\u0165 zapadl jako jeden ze Scottov\u00fdch slab\u0161\u00edch kousk\u016f. Takhle mi ale film poskytl fantastick\u00fd v\u00fdlet v \u010dase do ulic, kter\u00e9 u\u017e d\u00e1vno vzaly za sv\u00e9.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ned\u00e1vno jsem si pustil thriller \u010cern\u00fd d\u00e9\u0161\u0165 (Black Rain) od Ridleyho Scotta z roku 1989. M\u011bl jsem k tomu jeden hlavn\u00ed d\u016fvod. Ne\u0161lo mi ani tak o Michaela Douglase v roli drsn\u00e9ho poldy, jako sp\u00ed\u0161e o moji ned\u00e1vnou cestu do Japonska. Na p\u0159elomu kv\u011btna a \u010dervna jsme toti\u017e str\u00e1vili n\u011bjak\u00fd \u010das p\u0159\u00edmo v \u00d3sace. Z\u00e1\u017eitek … \u010c\u00edst d\u00e1l<\/a><\/p>\n","protected":false},"author":1,"featured_media":1117,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[345,346,281,344],"class_list":["post-1115","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultura","tag-cerny-dest","tag-filmova-recenze","tag-osaka","tag-ridley-scott"],"_links":{"self":[{"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/posts\/1115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1115"}],"version-history":[{"count":3,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/posts\/1115\/revisions"}],"predecessor-version":[{"id":1122,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/posts\/1115\/revisions\/1122"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=\/wp\/v2\/media\/1117"}],"wp:attachment":[{"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1115"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1115"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldofruprecht.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}