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Film | 08/08/11

Klassiske striber går til filmen

 

 

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Superheltefilmatiseringerne vælter stadig ind over os, men heldigvis har Hollywood fået øjnene op for, at der også findes andre helte i tegneserieuniverset.

Vi har for længst vænnet os til, at biograferne myldrer med superhelte – og i takt med, at bunken af endnu uudnyttede superhelte er blevet mindre stifter vi også bekendtskab med de lidt mere perifære, såsom denne måneds »Green Lantern« og »Captain America«.

Læs også: De nye (super)drenge i Klassen

Men tegneserieverdenen byder på meget mere end ondskabsbetvingende superhelte. Ikke mindst, hvis man kaster blikket mod de europæiske lande. Og det er der heldigvis kræfter i Hollywood, der har gjort.

De kommende måneder kan vi glæde os til filmiske gensyn med både Smølferne, der har premiere 25. august, og Tintin, der ruller over biografskærmene 27. oktober. Sidstnævnte er lavet af ingen ringere end Steven Spielberg og Peter Jackson, og det hele bliver i ny og moderne indpakning.

»Smølferne« er lavet i 3D i en blanding af animation og live-action, mens »Tintin« er lavet som motion capture, hvor rigtige skuespillere spiller rollerne og derefter bliver scannet ind i en computer og animeret.

Ifølge tegneserieekspert og vært på DRs »Troldspejlet« Jakob Stegelmann er det passende at genoplive klassiske striber på lærredet. Film er nemlig blevet de yngre generationers svar på tegneserien. »Der er langt flere, der vil se filmen om Tintin, end der er folk, der læser tegneserier.

Tegneserien har spillet sig selv ud på et sidespor. Jeg læste selv Tintin, da jeg var lille, og jeg har den teori, at det var, fordi jeg ville have en film ind på mit værelse. Behovet for at have billeder, tekst og action sammen i et kulørt univers er meget stor, og tegneserierne har i mange år illuderet film, fordi man ikke kunne få film hjem på værelset.«

Læs også: Her er de nye premierefilm

Men i dag har de fleste børn umiddelbar adgang til film, på dvd eller via computer, påpeger Jakob Stegelmann. »Min søn på otte kunne ikke drømme om at læse en Tintin-bog, men vil gerne se den på tegnefilm i TV. Det vil være sådan, han kender Tintin,« siger TV-værten, der tror, han også selv ville have valgt dvd’en frem for seriehæftet, hvis det havde været muligt, da han var barn.

Derfor skal vi heller ikke begræde, at det oprindelige værk, serien, ikke længere får den fortjente opmærksomhed. »Historierne i Tintin er fantastiske, det er en form for film på tryk. Men man skal være åben overfor, at et univers kan flyttes, ellers er det ikke sjovt. Og hvis det er stærke og evigtgyldige historier, er det ligegyldigt, hvilket medie det er på.«

De allerbedste tegneserier er små fortællemæssige kunstværker, hvor plot og grafik går op i en højere enhed. Derfor kan det være en risikabel affære at forvandle dem til film.

For selv om Tintins skaber, Hergé, selv sagde, at hans serier var som film, er det en udfordring at overføre en historie fra et medie til et andet. »Det kan være sværere at filmatisere en tegneserie end en roman, fordi man både har tekst og et grafisk udtryk, som er unikt,« siger Jakob Stegelmann.

»Med en roman har læseren selv dannet billeder, men en Tintin-side indprenter sig i ens bevidsthed og er genkendelig. Det er et meget fastlåst udtryk, som den mindste variation ændrer ved.

Der er en million faldgruber, når man som filmskaber skal vælge sit eget udtryk og forsøge at overføre figurer og historie til det.« Jakob Stegelmann forudser, at især Tintin-filmatiseringen vil blive omdiskuteret blandt fans – på samme plan som filmatiseringen af en klassiker som J.R.R. Tolkiens »Lord of the Rings.« »Det er som at skulle genindspille »Casablanca«. Det er en sindssygt svær opgave.«

I en tid, hvor film er det dominerende medie for de fleste børn og unge, kan en filmatisering dog være med til at holde liv i de klassiske serier og karakterer. Også selv om det bliver i en anden form end den oprindelige.

»Smølferne er stærke, fordi der er en forældregeneration, der husker dem med veneration og synes, at det er vidunderligt, at deres børn ser det samme, selv om det er i en anden version.

Det giver et sammenhold mellem generationerne. Balancegangen er at flytte lidt på tingene, uden at man opgiver essensen,« vurderer Jakob Stegelmann. Desværre kommer selv en stor succes som film nok ikke til at betyde, at opmærksomheden vender tilbage til de oprindelige værker.

Ifølge Morten Søndergaard, der er en af Danmarks største tegneserieeksperter og har stået bag disken i tegneseriemekkaet Fantask i mere end 30 år, går det ofte lige omvendt.

»Afsmitningen på film er ikke så stor, som man måske tror. Faktisk kan det afkorte interessen. Da Sylvester Stallone lavede »Judge Dredd« og tog hjelmen af og folk så, at det var Sly (kælenavn for Sylvester Stallone, red.), droppede salget til nul, og det tog serien flere år at komme sig over det chok.

Da den første Batman-film kom, gik salget af tegneserien ind. Folk bliver overmætte. Så man skal passe på, hvad man satser sine penge på.«

Med to nye filmatiseringer af klassiske europæiske tegneserier, kunne det være fristende at konkludere, at Hollywood er ved at løbe tør for superhelte.

Men grunden til filmatiseringerne skal ifølge Morten Søndergaard snarere ses i, at den generation, der har magten i Hollywood, netop nu er vokset op med tegneseriemediet og derfor helt naturligt er opmærksom på det, når de leder efter nye ideer til film.

»Hollywood prøver altid at gentage succeser. De leder med lys og lygte efter nye ting, de kan kopiere og mangfoldiggøre. Alle succeser bliver taget og amerikaniserede. Der er ikke nogen original tankegang,« siger han.

Jakob Stegelmann mener, at de mere humoristiske europæiske klassiskere danner en modvægt til de tungere superheltefilm. »Den belgiske tradition, som både Smølferne og Tintin kommer fra, er enestående. Det er en helt anden let og kulørt og humoristisk verden, der ikke har det her alvorstunge og rystende dramatiske, vi kender fra superheltefilmene.

Det er en anden form for eventyr, hvor man siger, at så alvorligt skal man heller ikke tage det. Man kan forestille sig, at man har sagt, at de tegneserieuniverser kan bløde lidt op for lavinen af superheltene.«

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Smølferne

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Smølferne blev skabt i 1958 af den belgiske tegner Pierre Culliford, bedre kendt som Peyo. I den aktuelle filmatisering, »Smølferne«, der er en helt ny historie skrevet til lejligheden, forlader smølfrne for første gang deres trygge landsbyunivers for at lande i New York.

Filmen er en blanding af live-action og animation, og er instrueret af Raja Gosnell, der tidligere har blandet de to formater i filmene »Scooby Doo« og »Berverly Hills Chihuahua«. »Smølferne« får dansk premiere 25. august. Derfor er »Smølferne« ifølge Jakob Stegelmann langtidsholdbare:

»Smølferne er sjove små blå figurer med en lidt sarkastisk humor om menneskers forskellighed, koblet med et traditionelt eventyrunivers. Det er sjov underholdning.«

Hvad: Smølferne
Hvem: Instrueret af Raja Gosnell. Med: Hank Azaria, Neil Patrick Harris o.fl.
Hvornår: Filmen har dansk premiere 25. august

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Tintin

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Tintin blev skabt i 1929 af den belgiske tegner George Remi, under pseudonymet Hergé. Serien omfatter i alt 23 albums og er oversat til over 80 sprog. Den aktuelle filmatisering, »Tintin – enhjørningens hemmelighed«, er baseret på tre album fra 40erne: »Krabben med de gyldne klosakse«, »Enhjørningens hemmelighed« og »Rackham den Rødes skat«.

Filmen er instrueret af Steven Spielberg med Peter Jackson som producer. »Tintin – enhjørningens hemmelighed« får dansk premiere 27.10. Derfor er Tintin ifølge Jakob Stegelmann langtidsholdbar: »Tintin er grafisk ufatteligt original, samtidig med at historierne er velkomponerede og spændende. Og forskellige.

De dækker over både humor, spænding og satire. Det er både stor litteratur og kulørt underholdning.«


Hvad: Tintin og Enhjørningens Hemmelighed
Hvem: Instrueret af Steven Spielberg. Med Jamie Bell, Daniel Craig o.fl.
Hvornår: Filmen får dansk premiere 27. oktober

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