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Wagon Master Bake Karabana 1950, EEBB Wagon Master Bake karabana 1950, EEBB Sarrera: Bidelapur familia batek, cleggtarren familiak, banketxe batean lapu- Z: John Ford; G: Frank S. Nugent, rreta egin du hango langile bat odol hotzean hilez. Patrick Ford, John Ford; Pr: Lowell J. Farrell, Argosy Pictures; A: Bert Kredituak: zalgurdien karabana baten irudia ibai bat zeharkatzen (laguntzen Glennon; M: Richard Hageman; dien kantuak dioen bezala) “ibai, lautada, harea eta euritan zehar”. Mn: Jack Murray, Barbara Ford; A: Ben Johnson, Joanne Dru, 1849. Cristal City herri txikira bi zaldi-tratante iritsi dira, Travis (Ben John- Harry Carey Jr., Ward Bond, son) eta Sandy (Harry Carey Jr.), beren abere-taldeak saltzeko asmoz. Mormoi Charles Kemper, Alan Mowbray, talde bat agertu zaie bidean; zaldiak erosi nahi dizkiete, eta gidari moduan Jane Darwell, Ruth Clifford, Russell kontratatu, beren jendea San Juan ibairaino eraman dezaten, navajoen lurral- Simpson, Kathleen O’Malley, detik harago, “jaunak gordea digun haranera iritsi arte, zeina bere herriari gor- James Arness, Francis Ford; de dion erein eta landu dezagun eta emankor egin dezagun haren begietara”. Z/B, 86 min. DCP, JBGA Gazteek lehen eskaintza onartu dute, baina ez bigarrena. Biharamun goizean mormoien karabanak bideari ekin dio, herriko jende intoleranteak zorrotz zainduta. Travis eta Sandy mormoien abiatzeari begi- ra daude hesi batean eserita. Bat-batean, Sandy kantatzen ari den kantuko bi bertsok irauten duten tartean, patua irauli egin da, eta gazteek mendebalde- rako bidaiari lotzea erabaki dute: “Ibaian ikusiko dugu elkar. Lana daukagu”. Interludio musikala: karabana ibai bat zeharkatzen erakusten duten irudien gainean, kredituetan entzun dugun kantu bera entzuten da: “joan, joan, joan... Mendebaldera zihoazen, mendebaldera zihoazen, mendebaldera zihoazen”. Aurreko talde batean, Travisek eta Sandyk ezusteko batekin egin dute topo: gurdi baten hondakinak eta hiru pertsona zeharo mozkortuta, urik gabe geratu eta gero, jende zintzoa engainatzeko erabiltzen zuten ilea ugaritze- ko likidoa edan behar izan dutelako: Hall “doktorea” (Alan Mowbray) aktore eta orrazi-saltzailea, haren lagun Fleurette (Ruth Clifford) eta Denver neska gazte eder eta trebea (Joanne Dru). Mormoiek, hasieran, ez dute komikoekin eta bizimodu txarreko jendearekin nahastu nahi, baina Travisek adierazi die berak ez dituela bakarrik utziko eta berekin eraman beharko dituztela Kalifor- niako bideraino. Elder “agurgarriaren” (War Bond) laguntzaz, setatienen aur- kakotasuna gainditzea lortuko dute, gogora ekarriz, haiek bezala, Jainkoaren arima horiek ere ezin direla Cristal Cityra itzuli. Ura urri dago. Ibaira iristean, gizonek, emakumeek eta animaliek uretara jo dute bizkor. Denver lotsarik gabe saiatu da Travis xarmatzen; Sandy, berriz, Prudence neska gazte mormoia limurtzen saiatu da (Kathleen O’Malley). 20.16.02 Zinameko istoriak (I) Interludio musikala: gauean, kanpamentuan, festa bat egin da Chuckawa- lla Swingen erritmoan. Bat-batean, ospakizunaren erdian, cleggtarrak agertu dira, janaria eta Hall irakasleak Shiloh patriarkari sorbaldan sartua duen bala erauz diezaion eskatuz. Une horretatik aurrera entzuten den musika bakarra bidelapurren ezproiena da. Travisek eta Sandyk ezagutu egin dituzte. Baina cleggtarrei babesteko pantaila egokia iruditu zaie karabana, eta haiekin ja- rraitu nahi dute. Biharamun goizean, taldea abian jartzean, harea mugikorren ondorioz, mendian zehar bide alternatiboa bilatu behar izan dute erromesek. Bide ho- rretan, navajo talde batekin egin dute topo. Navajoek diote ez dituztela atse- gin gizon zuriak, lapur handiak direlako, baina bai mormoiak, “lapur txikiak” direlako; kanpamentura gonbidatu dituzte, eta, han, bi komunitateak dantza erritual batean batu dira. Harik eta cleggtarretako bat neska gazte navajo bat bortxatzen saiatu den arte. Elderrek justizia ezartzea erabaki du, eta basatia jipoitu egin dute komunitate indiarraren aurrean. Biharamun goizean, Hall “doktoreak” eta haren emakumeek beren bide propioari ekin diote. Travisek amodio aitorpena egin dio Denverri, eta honek hitz bakar batez erantzun dio: “Adio”. Bien bitartean, cleggtarrek karabana bereganatu eta gizonei armak kendu dizkiete, baina ume batek lortu du erre- bolber bat ezkutatzea. Hallen taldea ere itzultzera behartu dute, mormoiekin batera. Bidelapurrek erromesekin San Juan ibairaino joateko asmoa dute. Cristal Cityko sheriffaren patruila, cleggtarren pistolen mehatxupean, despistatu ondoren, karabanak azken oztopoari egin dio aurre: gurdiak mendi baten beste aldera pasatzea, haren atzean San Juan ibaia baitago. Horretara- ko, gurdien mugimendua ahalbidetuko duten erreiak zulatu beharko dituzte. Gurdiak pasatzen ari dira, pixkanaka, eta, bakarra geratzen denean, Shiloh Cleggek hura Elderrek gida dezan nahi du, eta ez ditzala erreiak erabili. Baina Sandy, umeak berreskuratutako errebolberrarekin armatuta, tiroka hasi da, eta tiroketa ez zatekeen ondo aterako Travisek, Shiloh Cleggen eskutik erori- tako armetako bat hartuz, tiratzaile bikaina zela erakutsi ez balu: “Uste nuen, seme, inoiz ez zeniola gizon bati tiro egingo”, esango dio Elderrek. “Hala da. Sugeei baino ez”. San Juan ibaiaren ertzean, mormoiek bidaiaren amaiera ospatu dute. Soi- nu-bandan ereserki bat entzuten da: “Santuok, zatozte, beldurrik gabe / baina gozamenez ibili gaurkoa egun ankerra izan arren. / Hobe da alferrikako irrikak urruntzen saiatzea eta bakea izango da saria. / Dena ondo dago, dena ondo dago”. Filmaren amaieran, ordura arte ikusitako irudien eta entzundako kantuen medley bat ikusten da, eta, hark dirauen bitartean, bi bikote berrien irudiak txertatzen dira: Travis eta Denver, eta Sandy eta Prudence. 20.16.02 Zinameko istoriak (I) BIBLIOGRAFIA AA. VV., John Ford, Madrid, Filmoteca Española / ICAA, 1988. ANDERSON, L., Sobre John Ford: escritos y conversaciones, Barcelona, Paidós, 2001. APRÀ, A., “7 Women” (1966-67), en AA.VV., John Ford, op.cit., págs. 277-281. BOGDANOVICH, P., John Ford, Madrid, Fundamentos, 1991 (reedición en Hatari Books, 2018). CAREY Jr., H., My Life as an Actor in the John Ford Stock Company, Madison Books, 1966. COMOLLI, J.-L., “Signes de piste (Cheyenne Autumn)”, Cahiers du Cinéma, nº 164, 1965, pág. 75-76. COMOLLI, J.-L., “Ford et les autres”, Cahiers du Cinéma, nº 183, 1966, pág. 55. DANEY, S., “John Ford for Ever”, en Devant la recrudescence des vols de sacs à main, cinema, television, information, Lyon, Aléas Editeur, 1991, págs. 43-46. EISENSTEIN, S. M., “El Sr. Lincoln por el Sr. Ford”, incluido en el folleto de la edición en Blu- Ray de El joven Lincoln (Young Mr. Lincoln, 1939), Madrid, La Aventura, 2017. FORD, D., Pappy. The life of John Ford, Englewood Cliffs (NJ), Prentice-Hall, 1979. GALLAGHER, T., John Ford: El hombre y su cine, Madrid, Akal, 2009. GIMFERRER, P., “Cheyenne Autumn”, Film Ideal, nº 156, 1964, págs. 768-769. MADSEN, A., “Cavalier seul. Entretien avec John Ford”, Cahiers du Cinéma, nº 183, 1966, págs. 38-53. McBRIDE, J., Tras la pista de John Ford, Madrid, T & B, 2009. [“Bringing in the Sheaves” (1973- 74), en AA. VV, John Ford, op.cit., págs. 283-289]. MOIX, R., “Evolución hacia la rosa”, Film Ideal, nº 166, 1965, págs. 256-264. OLLIER, C., “Les Saints des Derniers Jours (Wagon Master)”, Cahiers du Cinéma, nº 157, 1964, págs. 51-54 (incluido en OLLIER, C., Souvenirs écran, París, Cahiers du Cinéma / Gallimard, 1981, págs. 199-205). REDACCIÓN DE CAHIERS DU CINÉMA, “Young Mr. Lincoln de John Ford”, Cahiers du Cinéma, nº 223, 1970, págs. 29-47. ROLLET, P. y SAADA, N. (eds.), John Ford, París, Cahiers du Cinéma, 1990. TAVERNIER, B., “La cabalgata de Sganarelle” (1965), en AA. VV. John Ford, op. cit., págs. 269- 276. TAILLEUR, R., “Tres películas legendarias: Young Mr. Lincoln, The Iron Horse y Wagon Master” (1964), en AA. VV., John Ford, Madrid, Filmoteca Española / ICAA, 1988, págs. 63-80. ZUNZUNEGUI, S., “Por dónde comenzar (y cómo terminar). John Ford o la imagen como geología”, en La mirada cercana. Microanálisis fílmico (edición revisada y ampliada), Santander, Shangrila, 2016, págs. 22-51. 20.16.02 Zinameko istoriak (I).
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  • The Cheyenne Outbreak Barracks
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