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Nosferatu. Revista De Cine (Donostia Kultura)

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Nosferatu. Revista De Cine (Donostia Kultura) Nosferatu. Revista de cine (Donostia Kultura) Título: El gángster de las mil caras Autor/es: Angulo, Jesús Citar como: Angulo, J. (1998). El gángster de las mil caras. Nosferatu. Revista de cine. (27):6-17. Documento descargado de: http://hdl.handle.net/10251/41065 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Ed wo rd G. Ro binson a figura del gángster, con ésta o cualquiera otra de­ nominación, pero en todo caso haciendo referencia al delincuente más o menos orga­ nizado, recorre prácti camente ) toda la historia del cine. Dos ejemplos tópicos: una películ a y un actor. Sin ser, por supuesto, el primer film sobre gángsters -ni siquiera el primero en el que su realizador, el siempre referencial David W. Griffith, ab orda el tema-, The Mus l<eteers of Pig Alley (1 9 12) es la primera gran referencia. Griffith nos sitúa ya en un barrio bajo, el Lower East Side de Nueva York, en el que todo el mundo pugna por salir de la miseria. No siempre por méto­ dos ortodoxos, como es el caso de Snapper Kid, un claro antece­ dente de los gángsters de los aiios treinta: violento, sin escrúpulos, siempre cuidadoso de corromper a los representantes de la ley, fre­ cuentador de garitos y que no co­ noce oh·a forma de escapar de su mísero destino que la implanta­ ción del miedo en los que le ro­ dean. Un protogángster que ni si­ quiera está exento de los líes que con el tiempo aeompaiiarán a sus descendientes: en este caso su ostentosa forma de ajustarse el pantalón cuando se prepara a en­ • trar en acción o su característica manera de aspirar cigarrillos, que tantos duros emularán con e l tiempo. as m1 caras Lon Chaney, uno de los actores más inquietantes que jamás ha dado el cine, crea por s u parte Jesús Angulo dos personaj es igualmente antoló• gicos. M ientras en T hc Penalty (Wall ace Worsley, 1920) interpre­ Sukon fasw1 omren gwi tl!l ik. onclol1o orriu ldm! mt !!/ 111 !!,:'i/l'I'I'('Jf ta a un gángster cuyos deseos de ' ' l venganza tienen su origen en la z iÍ/('/11(1 deitu iw11 de11rm•n ela lw[!:ei ela lwgeita halllmf!liiH'II innecesaria amputación de sus menc/e('ll or/emt gi::.on-mola bere::.ia osal: f'll : tt/1'11 ¡wr/sotlm'rt piernas sufrida en la adolescencia, adiera ::.garriet te// deskrif}((¡ mt gut.l'i {)(( 1::. uk ¡•p.in nrt /u' ditup,11. E::. en Maldad encubierta (Tod Browning, 1925) interpreta al s([konlaswuk, e::. desknbapen lwrtsirik, ::.ti u•m a be/! =.. ek u Black B ird que da tíhtlo original sorrl:'rct -gwrt iko 11 w lt ;:..ur-sorl u /)(( ú In tm ;:, .JÚrdut ek o a¡'¡ ::.akt'o (The Black Bird) a la cinta y que besfl'nk 1'::. se desdobla, para escapar de la ••••••NO SFERAT U 2 7 poli cía, en su supuesto hermano Rayney y precursora de B ill y Ho­ de una manera más o me nos gemelo, conocido como E l Obis­ liday- se convertía en la empera­ consciente, con aquellos que, ha­ po, un li siado que despliega su ac­ triz del blues y la voz cascada y la biendo escapado de la miseria en tividad caritativa por un barrio trompeta de Louis Armstrong no la que ellos mismos se veían atra­ bajo londinense. Tanto es así que conocían otra sombra que la de pados, habían conseguido acceder su muerte, bajo la segunda identi­ las frenéticas orquestas de Duke a un poder en algunos casos dad, es llorada por todos aquéllos E llington. Los "feli ces veinte" no prácticamente ilimitado. Tanto a los que protegió. Mientras, en casaban bien con una estúpida ley que ante ellos se doblegaban polí­ cierto modo, Griffith creaba e l (la ley Volstead, promulgada en ticos, jueces y policías en un es­ primer gángster con cierta entidad 19 19), que ilcgali zaba la fabrica­ candaloso coro de corrupción. en la hi storia del ci ne, Chaney do­ ción, comercialización y consumo Entre el policía corrupto y el taba a sus personajes de un ele­ de alcohol. Independientemente gángster hecho a sí mismo desde mento que heredarán sus suceso­ de sus concomitancias moralistas la nada, al fin y al cabo el gran res de los años treinta ( 1): una, la torpe "ley seca" no consiguió mensaj e de la joven y pujante po­ mayor o menor según los casos, otra cosa que sacrali zar el alco­ tencia, el pueblo no tenía dudas a dosis de ambigüedad moral. hol. Como tantas veces en la his­ favor del segundo. E l crack de toria la ley daba la espalda a la 1929 sumió al país en una cri sis Precursores más o menos excep­ realidad. Los garitos y clu bes di­ social y económica Í11 csperada. El cionales aparte, el gángster del versos proliferaron al mismo rit­ sueiio dorado mostró sus pies de que nos vamos a ocupar es el de mo febril que las fortunas crecían barro e hi zo de la Depresión la los años treinta, el que se apodera y las diferencias sociales se en­ gran p rotagonista de la primera de la pantalla con un protagonis­ sanchaban. E l negocio del alcohol mitad de la década de los treinta. mo absoluto y que, nacido a fina­ se convirtió en el principal factor La ll egada de Franklin D. Roose­ les de los años veinte de la mano de enriquecimiento de las mafias velt al poder en 1933 comenzaría de Joseph Von Sternberg, perece­ cada vez más fuertes y mejor or­ a poner las cosas en su sitio, rá en 1941 de la mano de Hum­ gani zadas, que dominaban a su mientras las bandas de gángsters phrey Bogar! en E l último refu­ vez las apuestas clandestinas y no se disputaban su ahora más ma­ gio (Raoul Walsh, 1941). Por su­ dudaban, si era necesario, en re­ gro territorio a ráfaga de metralle­ puesto, e l gángster sobrevivirá ventar huelgas a sueldo de los pa­ ta. Ese mismo arlo es derogada la hasta hoy mismo, y no dejaremos tronos o infiltrarse en organiza­ "ley seca", en los ailos en que se de citar alguno de sus descen­ ciones obreras. Al ciudadano de a impone el Código Hays, que su­ dientes temporalmente más direc­ pie se le reservaba el simple papel pone una censura previa para los to, pero algo de él muere bajo las de espectador. Habiéndosele hur­ gui ones. Sólo quedaban cuatro balas, un tanto redentoras, que tado la participación en el gran ai'los para que los nazis ocupasen acaban con el Roy Earl e walshia­ pastel, el pueblo se identificaba, Austria y la economía norteameri- no. Aunque, en puridad, nuestro gángster quedará fijado en los pa­ peles que lanzarán al estrellato a nuestros tres grandes protagonis­ tas: Edward G. Robinson, James Cagncy y Paul Muni. F ina li zada la Primera Guerra Mundial, Estados Unidos inicia el gran despegue económico que le convertirá en la gran potencia del siglo XX. Los inmediatos ailos veinte conocerían un ininterrum­ pido crecimiento que hacía pensar a todo aquel que tuviese la sufi­ ciente ambición que el dinero es­ taba ah í, esperándole para ser capturado. U na ambición que ape­ nas conocía de escrúpulos y mu­ cho de una euforia que marcaría la década feliz . Era la época del charl estón y del fox-trot en la que Bessie Smith -la heredera de Ma The Penalty NOSFERA T U 27 cana se recuperaba bajo el aliento en el de Tony Camonte/Paul Muni htal apari ción en la crónica de su­ de las leyes roosevcltianas del en Scarface, el terror del ham­ cesos. Su poder llegó a ser tal que New Deal. Roy Earle, el protago­ pa (H. Hawks, 1932). Fideli dad a formaban una suerte de é li tc eco­ nista de E l último refugio, mue­ la familia que se extiende a la que nómica paralela, codeándose con re el mismo año en el que renace practica hacia el amigo que se ha políticos, financieros, jueces y el Sam Spadc de El halcón mal­ iniciado con él en las tropelías de fiscales que en muchas ocasiones tés (J. Huston, 1941) y en el que juventud y al que a menudo se no eran sino sus obedientes ma­ los j aponeses bombardean Pearl verá enfrentado finalmente con el rionetas. En consecuencia, el cine Harbour provocando la entrada resultado de un evidente desgarro no podía dejar escapar la ocasión norteamericana en la Segunda interior. Este gángster posee una de apropiarse de un personaj e que Guerra Mundial. auténtica obsesión por el lujo y la venía a ser una impecable manera ostentación, inevitablemente hor­ para retratar una sociedad en con­ Es nuestro gángster producto de teras. Su ambición no conoce te­ tinua efervescencia. Su condición tiempos convulsos. Su ori gen so­ cho: "Eso es. ¡\1/ás, siempre quie­ de personaje real, perfectamente cial, queda dicho, es humilde. ro más", subrayará el epilogal datado e identificable, y su deve­ Muchas veces proviene de fami­ Rocco de Cayo Largo (J.
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