V an\u00e1lech d\u011bjin kinematografie stoj\u00ed \u201eOb\u010dan Kane\u201c Orsona Wellese jako strm\u00fd maj\u00e1k mistrovsk\u00e9ho d\u00edla. Av\u0161ak je\u0161t\u011b p\u0159edt\u00edm, ne\u017e Welles dos\u00e1hl tohoto pr\u016fkopnick\u00fdm filmem kritick\u00e9ho uzn\u00e1n\u00ed, pustil se do ambici\u00f3zn\u00edho projektu, o kter\u00e9m se p\u0159edpokl\u00e1dalo, \u017ee je nav\u017edy ztracen: \u201eToo Much Johnson\u201c.<\/p>\n\n
\u201eToo Much Johnson\u201c byla s\u00e9rie kr\u00e1tk\u00fdch film\u016f ur\u010den\u00fdch k doprovodu \u017eiv\u00e9ho p\u0159edstaven\u00ed stejnojmenn\u00e9 divadeln\u00ed hry v roce 1938. Byl to Welles\u016fv prvn\u00ed pokus o film s profesion\u00e1ln\u00edm \u0161t\u00e1bem a herci a znamenal v\u00fdznamn\u00fd miln\u00edk v jeho kari\u00e9\u0159e.<\/p>\n\n
Ov\u0161em v premi\u00e9rov\u00fd ve\u010der film nebyl p\u0159ipraven k uveden\u00ed. Divadeln\u00ed hra pokra\u010dovala bez n\u011bj a kdy\u017e produkce propadla, film byl odlo\u017een a zapomenut.<\/p>\n\n
Po cel\u00e1 desetilet\u00ed se v\u011b\u0159ilo, \u017ee se \u201eToo Much Johnson\u201c ztratil p\u0159i po\u017e\u00e1ru v 60. letech 20. stolet\u00ed. Av\u0161ak v pozoruhodn\u00e9m zvratu ud\u00e1lost\u00ed byl film ned\u00e1vno objeven ve skladu v Pordenone v It\u00e1lii.<\/p>\n\n
Znovuobjeven\u00ed filmu \u201eToo Much Johnson\u201c je v\u00fdznamnou ud\u00e1lost\u00ed pro filmov\u00e9 historiky a Wellesovi nad\u0161ence. Film poskytuje vz\u00e1cn\u00fd pohled do Wellesovy ran\u00e9 tvorby a vrh\u00e1 nov\u00e9 sv\u011btlo na jeho tv\u016fr\u010d\u00ed proces.<\/p>\n\n
N\u011bm\u00fd film je zna\u010dn\u011b po\u0161kozen \u010dasem, ale muzeum George Eastman House v Rochesteru v New Yorku v sou\u010dasn\u00e9 dob\u011b pracuje na jeho restaurov\u00e1n\u00ed. Jakmile bude restaurov\u00e1n\u00ed dokon\u010deno, muzeum uvede film poprv\u00e9 ve\u0159ejn\u011b.<\/p>\n\n
Znovuobjeven\u00ed filmu \u201eToo Much Johnson\u201c je v\u00fdznamn\u00e9 z n\u011bkolika d\u016fvod\u016f. Zaprv\u00e9 vypl\u0148uje mezeru ve Wellesov\u011b filmografii a umo\u017e\u0148uje n\u00e1m l\u00e9pe porozum\u011bt jeho um\u011bleck\u00e9mu v\u00fdvoji.<\/p>\n\n
Zadruh\u00e9 film nab\u00edz\u00ed jedine\u010dnou perspektivu na po\u010d\u00e1tky kinematografie a v\u00fdzvy, kter\u00fdm filma\u0159i \u010delili p\u0159i produkci a distribuci sv\u00fdch d\u011bl.<\/p>\n\n
A kone\u010dn\u011b, restaurov\u00e1n\u00ed a ve\u0159ejn\u00e9 uveden\u00ed filmu \u201eToo Much Johnson\u201c zp\u0159\u00edstupn\u00ed tento d\u016fle\u017eit\u00fd kus filmov\u00e9 historie nov\u00e9 generaci div\u00e1k\u016f.<\/p>\n\n
Ne\u017e Welles dos\u00e1hl mezin\u00e1rodn\u00ed sl\u00e1vy s filmem \u201eOb\u010dan Kane\u201c, byl vych\u00e1zej\u00edc\u00ed hv\u011bzdou ve sv\u011bt\u011b divadla. Re\u017e\u00edroval n\u011bkolik uzn\u00e1van\u00fdch divadeln\u00edch inscenac\u00ed, v\u010detn\u011b pr\u016fkopnick\u00e9 adaptace Shakespearovy hry \u201eMacbeth\u201c v roce 1936.<\/p>\n\n
Welles\u016fv z\u00e1jem o film za\u010dal v polovin\u011b 30. let 20. stolet\u00ed a experimentoval s r\u016fzn\u00fdmi filmov\u00fdmi technikami, v\u010detn\u011b pou\u017e\u00edv\u00e1n\u00ed zvuku a mont\u00e1\u017ee. \u201eToo Much Johnson\u201c byl jeho prvn\u00edm pokusem o profesion\u00e1ln\u00ed film a uk\u00e1zal jeho inovativn\u00ed p\u0159\u00edstup k vypr\u00e1v\u011bn\u00ed p\u0159\u00edb\u011bh\u016f.<\/p>\n\n
A\u010dkoli \u201eToo Much Johnson\u201c nikdy nebyl ve\u0159ejn\u011b uveden, p\u0159edpokl\u00e1d\u00e1 se, \u017ee ovlivnil Wellesovu pozd\u011bj\u0161\u00ed tvorbu, zejm\u00e9na film \u201eOb\u010dan Kane\u201c. Pou\u017eit\u00ed flashback\u016f, netradi\u010dn\u00edch \u00fahl\u016f kamery a v\u00edcevrstv\u00e9 narativn\u00ed struktury filmu p\u0159edznamenalo techniky, kter\u00e9 Welles v tomto sv\u00e9m mistrovsk\u00e9m d\u00edle zvl\u00e1dl.<\/p>\n\n
Znovuobjeven\u00ed filmu \u201eToo Much Johnson\u201c poskytuje cennou p\u0159\u00edle\u017eitost k p\u0159ehodnocen\u00ed Wellesovy ran\u00e9 kari\u00e9ry a pochopen\u00ed v\u00fdvoje jeho filmov\u00e9ho stylu.<\/p>\n\n
Muzeum George Eastman House uvede restaurovanou verzi filmu \u201eToo Much Johnson\u201c v Pordenone v It\u00e1lii a pot\u00e9 v muzeu v Rochesteru v \u0159\u00edjnu. Bude to prvn\u00ed ve\u0159ejn\u00e1 prezentace Wellesova prvn\u00edho filmu ur\u010den\u00e9ho pro \u0161irok\u00e9 publikum.<\/p>\n\n
Uveden\u00ed filmu \u201eToo Much Johnson\u201c je velkou ud\u00e1lost\u00ed pro Wellesovy fanou\u0161ky a filmov\u00e9 nad\u0161ence. Nab\u00edz\u00ed vz\u00e1cnou p\u0159\u00edle\u017eitost za\u017e\u00edt ztracen\u00fd kus filmov\u00e9 historie a z\u00edskat hlub\u0161\u00ed porozum\u011bn\u00ed jednoho z nejvlivn\u011bj\u0161\u00edch filma\u0159\u016f v\u0161ech dob.<\/p>","protected":false},"excerpt":{"rendered":"
Ztracen\u00fd film Orsona Wellese nalezen: \u201eToo Much Johnson\u201c znovuobjeven Ztracen\u00fd film V an\u00e1lech d\u011bjin kinematografie stoj\u00ed \u201eOb\u010dan Kane\u201c Orsona Wellese jako strm\u00fd maj\u00e1k mistrovsk\u00e9ho d\u00edla. Av\u0161ak je\u0161t\u011b p\u0159edt\u00edm, ne\u017e Welles…<\/p>\n","protected":false},"author":4,"featured_media":23513,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1458],"tags":[1656,3731,18167,18168,18169,3733],"class_list":["post-13478","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-film-history","tag-silent-film","tag-orson-welles","tag-too-much-johnson","tag-rediscovered","tag-lost-films"],"_links":{"self":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/13478","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/comments?post=13478"}],"version-history":[{"count":1,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/13478\/revisions"}],"predecessor-version":[{"id":13479,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/13478\/revisions\/13479"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/media\/23513"}],"wp:attachment":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/media?parent=13478"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/categories?post=13478"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/tags?post=13478"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}