{"id":62489,"date":"2026-07-31T01:45:42","date_gmt":"2026-07-30T23:45:42","guid":{"rendered":"https:\/\/film-mag.net\/wp\/?p=62489"},"modified":"2026-08-05T19:00:38","modified_gmt":"2026-08-05T17:00:38","slug":"film-odiseja-osvrt-darko-plesa","status":"publish","type":"post","link":"https:\/\/film-mag.net\/wp\/?p=62489","title":{"rendered":"FILM: Odiseja [osvrt Darko Ple\u0161a]"},"content":{"rendered":"<p style=\"text-align: justify;\"><strong>U godini smo u kojoj kino publika i\u0161\u010dekuje nekoliko naslova koji bi trebali biti veliki kino hitovi. Ovog ljeta po\u010deo se prikazivati jedan od tih a to je &#8216;Odiseja&#8217; Christophera Nolana (do kraja godine jo\u0161 nas, izme\u0111u ostalog o\u010dekuju &#8216;Dina: Tre\u0107i dio&#8217; i &#8216;Osvetnici: Uspon doktora Dooma&#8217;). Nolanova ekranizacija Homerovog epa i prije prikazivanja ve\u0107 je podigla poprili\u010dnu buru zbog redateljevog izbora Lupite Nyong&#8217;o u ulozi Helene (glumila je i njenu sestru Clytemnestru), kao i izbor Elliota Pagea (biv\u0161a Ellen Page) za ulogu Ahileja (na kraju je i dosta zabavno da u filmu da nije glumio Ahileja nego Sinona).<\/strong><\/p>\n<p style=\"text-align: justify;\">Christopher Nolan je svoju interpretaciju &#8216;Odiseje&#8217; snimio u nelinearnoj naraciji, a film po\u010dinje masovnom scenom ve\u010dere na Itaki gdje jedan od prosaca pripovijeda pri\u010du o Odisejevoj hrabrosti i lukavosti u bitci za Troju, gdje mi shva\u0107amo da je rat u Troji davno zavr\u0161io i da polako nestaje nada u Odisejev povratak. Film nas vodi kroz pri\u010de svojim ritmom i kronologijom, \u010dine\u0107i tako film skupinom vi\u0161e pri\u010da, podjednako se bave\u0107i Odisejem ali i njegovim sinom Telemahom koji ide tra\u017eiti vijesti o ocu, uz povremeno vra\u0107anje na Trojanski rat. Ve\u0107ina pri\u010da je barem donekle poznata onima koji su \u010ditali (&#8216;Ilijadu&#8217; i) &#8216;Odiseju&#8217;, dok su neke prilago\u0111ene ukupnoj pri\u010di i viziji filma, uz poneko posu\u0111ivanje likova iz drugih epova. Nolan koji je ujedno i autor scenarija, sveo je prisustvo bogova na spominjanje i strah od istih, a u filmu se bavio s ljudima te njihovim strahovima i motivima. Odisej cijelo vrijeme propituje \u0161to je njemu Trojanski rat uzeo a \u0161to dao. Ovo je film koji se bavi utjecajem rata na \u010dovjeka i PTSP-iem, uz neizbje\u017enu usporedbu s dana\u0161njim s vremenom kroz prikaz Troje kao Genocida nad jednim narodom.<\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" style=\"border: none; width: 100%;\" src=\" https:\/\/image.tmdb.org\/t\/p\/original\/CB00q3rBf09v8OC0FVNPlBtwmN.jpg \" \/><\/p>\n<p style=\"text-align: justify;\">Fotografiju ustupio <strong><a href=\" https:\/\/www.themoviedb.org\/movie\/1368337-the-odyssey \" target=\"_blank\" rel=\"noopener noreferrer\"> TMDB<\/a><\/strong><\/p>\n<p style=\"text-align: justify;\">Re\u017eija je dojmljiva, kao i \u010ditav tehni\u010dki aspekt filma. Svakako treba istaknuti da je ovo prvi film koji je snimljen u potpunosti IMAX kamerama, te su za snimanje napravljene nove generacije IMAX kamera koje su znatno ti\u0161e i lak\u0161e od dosada\u0161njih. Iza kamare je stajao i napravio odli\u010dan posao, oscarovac Hoyte van Hoytema, sad ve\u0107 stalni suradnik Christophera Nolana. Dojmljivo je i Nolanovo inzistiranje na snimanju bez CGI efekata. Tako je trojanski konj zaista izgra\u0111en, posada vesla u pravom brodu na otvorenom moru, svi vojnici i brodovi u kadru su stvarno tamo, Kiklop je snimljen uz pomo\u0107 divovske lutke, Lestrigonci su snimljeni tehnikom prisilne perspektive, a dupini koji iska\u010du iz mora na po\u010detku filma su se na odu\u0161evljenje ekipe slu\u010dajno na\u0161li tamo. Monta\u017eu je znala\u010dki odradila Jennifer Lame, tako\u0111er jedna od stalnih suradnica Christopher Nolana, koja je kao i van Hoytema nagra\u0111ena Oscarom za zajedni\u010dki rad na &#8216;Oppenheimeru&#8217;. Ludwig G\u00f6ransson, vi\u0161estruki oscarovac, sa svojom glazbom dao je filmu posebnu dozu dramatike. Svakako treba istaknuti i sve koji su radili na kostimografiji i scenografiji.<\/p>\n<p style=\"text-align: justify;\">Brojnu gluma\u010dku ekipu predvodi Matt Damon kao Odisej, a da nabrojimo sve poznate glumce u filmu trebali bi i vremena i prostora. U poprili\u010dno neujedna\u010denom gluma\u010dkom ansamblu izdvojila se odli\u010dna Samantha Morton kao Kirka kojoj je filmska ekipa zapljeskala odmah na setu. Svakako treba izdvojiti i Roberta Pattinsona kao podlog Antinoja i Elliot Page kao Sinona, pogotovo u sceni u Hadu, koja je svakako me\u0111u najdojmljivijima u filmu. Dok su neki imali svoje trenutke u filmu (Anne Hathaway kao Penelopa, Himesh Patel kao Euriloh, John Leguizamo kao slijepi svinjar Eumej), neki su bili prosje\u010dni (Matt Damon kao Odisej, Tom Holland kao Telemah) ili je njihovo pojavljivanje na ekranu bilo prekratko za bilo kakav dojam (Charlize Theron kao Kalipsa, Zendaya kao Atena koju vidi samo Odisej).<\/p>\n<p style=\"text-align: justify;\">Iako u svojem trajanju od skoro tri sata sam film nije naporan za gledanje, dojam je da su neke pri\u010de i mogle biti kra\u0107e. Film je u redateljskom smislu impresivan, pogotovo masovne scene s pravim statistima, dok je scenarij ne\u0161to slabiji i neke likove ostavlja nedore\u010denima. U svakom slu\u010daju, s razlogom se ovom filmu pridodaje pridjev epski, kako zbog opsega posla koje je Nolan obavio sa svojim suradnicima, tako i zbog iskustva gledanja istog.<\/p>\n<p style=\"text-align: justify;\"><strong>Darko Ple\u0161a<\/strong><br \/>\nVukovar, 30.07.2026.<\/p>\n<p style=\"text-align: justify;\"><strong><a href=\"https:\/\/www.odysseymovie.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Odiseja \u2013 Movie Site<\/a><\/strong><br \/>\n<strong><a href=\"https:\/\/www.imdb.com\/title\/tt33764258\/?ref_=fn_t_1\" target=\"_blank\" rel=\"noopener noreferrer\"> The Odyssey \u2013 IMDb<\/a><\/strong><\/p>\n<p style=\"text-align: justify;\">Film je pogledan u <strong><a href=\"https:\/\/cinestarcinemas.hr\/vukovar-k-centar-golubica\" target=\"_blank\" rel=\"noopener noreferrer\"> CineStaru Vukovar<\/a><\/strong><\/p>\n<p style=\"text-align: justify;\"><iframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https:\/\/www.facebook.com\/plugins\/post.php?href=https%3A%2F%2Fwww.facebook.com%2FFILMmagnet%2Fposts%2Fpfbid05wBE6csNb4af9HsTMGVyKJiwxTMp3S1jJRd9EjhmM5gtjxC9L6EiiT7zeJ66Vjbxl&amp;show_text=true&amp;width=500\" width=\"500\" height=\"392\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: justify;\"><iframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https:\/\/www.facebook.com\/plugins\/post.php?href=https%3A%2F%2Fwww.facebook.com%2FFILMmagnet%2Fposts%2Fpfbid08dtkzDGrxbQgLu3RRqB4EZKvddxhEwy7C9uS7svwLoCCiyYLYX7U7gLAYJF5MJoTl&amp;show_text=true&amp;width=500\" width=\"500\" height=\"665\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: justify;\"><iframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https:\/\/www.facebook.com\/plugins\/post.php?href=https%3A%2F%2Fwww.facebook.com%2FFILMmagnet%2Fposts%2Fpfbid0239mDQcqDBoXR4YK4XV7moHcK5r3AWVeLc4QkYQrxCdmKCRurFTSwRscbK3QthjV3l&amp;show_text=true&amp;width=500\" width=\"500\" height=\"665\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div id=\"fb_share_1\" style=\"float: right; margin-left: 10px;\"><a name=\"fb_share\" type=\"box_count\" share_url=\"https:\/\/film-mag.net\/wp\/?p=62489\" href=\"http:\/\/www.facebook.com\/sharer.php\">Share<\/a><\/div><div><script src=\"https:\/\/static.ak.fbcdn.net\/connect.php\/js\/FB.Share\" type=\"text\/javascript\"><\/script><\/div><div style=\"clear:both\"><\/div>","protected":false},"excerpt":{"rendered":"<p>U godini smo u kojoj kino publika i\u0161\u010dekuje nekoliko naslova koji bi trebali biti veliki kino hitovi. Ovog ljeta po\u010deo se prikazivati jedan od tih a to je &#8216;Odiseja&#8217; Christophera Nolana (do kraja godine jo\u0161 nas, izme\u0111u ostalog o\u010dekuju &#8216;Dina: Tre\u0107i dio&#8217; i &#8216;Osvetnici: Uspon doktora Dooma&#8217;). Nolanova ekranizacija Homerovog epa i prije prikazivanja ve\u0107 [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[5955,9,4,48],"tags":[],"class_list":["post-62489","post","type-post","status-publish","format-standard","hentry","category-autorski-tekstovi","category-film","category-istaknuto","category-osvrti-na-filmove"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>FILM: Odiseja [osvrt Darko Ple\u0161a] - FILM-mag.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/film-mag.net\/wp\/?p=62489\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"FILM: Odiseja [osvrt Darko Ple\u0161a] - FILM-mag.net\" \/>\n<meta property=\"og:description\" content=\"U godini smo u kojoj kino publika i\u0161\u010dekuje nekoliko naslova koji bi trebali biti veliki kino hitovi. Ovog ljeta po\u010deo se prikazivati jedan od tih a to je &#8216;Odiseja&#8217; Christophera Nolana (do kraja godine jo\u0161 nas, izme\u0111u ostalog o\u010dekuju &#8216;Dina: Tre\u0107i dio&#8217; i &#8216;Osvetnici: Uspon doktora Dooma&#8217;). 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Nolanova ekranizacija Homerovog epa i prije prikazivanja ve\u0107 [&hellip;]","og_url":"https:\/\/film-mag.net\/wp\/?p=62489","og_site_name":"FILM-mag.net","article_published_time":"2026-07-30T23:45:42+00:00","article_modified_time":"2026-08-05T17:00:38+00:00","author":"Suradnik","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Suradnik","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/film-mag.net\/wp\/?p=62489#article","isPartOf":{"@id":"https:\/\/film-mag.net\/wp\/?p=62489"},"author":{"name":"Suradnik","@id":"https:\/\/film-mag.net\/wp\/#\/schema\/person\/9ffa18a59c8bc69aa9c3cacd71c61f3e"},"headline":"FILM: Odiseja [osvrt Darko Ple\u0161a]","datePublished":"2026-07-30T23:45:42+00:00","dateModified":"2026-08-05T17:00:38+00:00","mainEntityOfPage":{"@id":"https:\/\/film-mag.net\/wp\/?p=62489"},"wordCount":738,"articleSection":["Autorski tekstovi","Film","Istaknuto","Osvrti na filmove"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/film-mag.net\/wp\/?p=62489","url":"https:\/\/film-mag.net\/wp\/?p=62489","name":"FILM: Odiseja [osvrt Darko Ple\u0161a] - FILM-mag.net","isPartOf":{"@id":"https:\/\/film-mag.net\/wp\/#website"},"datePublished":"2026-07-30T23:45:42+00:00","dateModified":"2026-08-05T17:00:38+00:00","author":{"@id":"https:\/\/film-mag.net\/wp\/#\/schema\/person\/9ffa18a59c8bc69aa9c3cacd71c61f3e"},"breadcrumb":{"@id":"https:\/\/film-mag.net\/wp\/?p=62489#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/film-mag.net\/wp\/?p=62489"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/film-mag.net\/wp\/?p=62489#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/film-mag.net\/wp\/"},{"@type":"ListItem","position":2,"name":"FILM: Odiseja [osvrt Darko Ple\u0161a]"}]},{"@type":"WebSite","@id":"https:\/\/film-mag.net\/wp\/#website","url":"https:\/\/film-mag.net\/wp\/","name":"FILM-mag.net","description":"Prvi hrvatski portal o filmu i filmu bliskim podru\u010djima kulture","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/film-mag.net\/wp\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/film-mag.net\/wp\/#\/schema\/person\/9ffa18a59c8bc69aa9c3cacd71c61f3e","name":"Suradnik","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/645eae41403ee65fb2e87b2c2138697348f4262bb87f8a9aa5c6886013dde84e?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/645eae41403ee65fb2e87b2c2138697348f4262bb87f8a9aa5c6886013dde84e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/645eae41403ee65fb2e87b2c2138697348f4262bb87f8a9aa5c6886013dde84e?s=96&d=mm&r=g","caption":"Suradnik"},"url":"https:\/\/film-mag.net\/wp\/?author=16"}]}},"_links":{"self":[{"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=\/wp\/v2\/posts\/62489","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=62489"}],"version-history":[{"count":4,"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=\/wp\/v2\/posts\/62489\/revisions"}],"predecessor-version":[{"id":62530,"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=\/wp\/v2\/posts\/62489\/revisions\/62530"}],"wp:attachment":[{"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=62489"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=62489"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/film-mag.net\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=62489"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}