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Vertigo. Revista De Cine (Ateneo Da Coruña)

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Vertigo. Revista De Cine (Ateneo Da Coruña) Vertigo. Revista de cine (Ateneo da Coruña) Título: Ha nacido otra estrella Autor/es: Arias, Dany Citar como: Arias, D. (1994). Ha nacido otra estrella. Vértigo. Revista de cine. (10):28-31. Documento descargado de: http://hdl.handle.net/10251/43005 Copyright: Todos los derechos reservados. 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: Vertigo. Revista de cine (Ateneo da Coruña) Título: Ha nacido otra estrella Autor/es: Arias, Dany Citar como: Arias, D. (1994). Ha nacido otra estrella. Vértigo. Revista de cine. (10):28-31. Documento descargado de: http://hdl.handle.net/10251/43005 Copyright: Todos los derechos reservados. 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: VERTIGO Cine en el cine HA NACIDO OTRA ESTRELLA HOLLYWOOD AL DESNUDO (WHAT PRICE HOLLYWOOD?, 1932) 28 DANY ARIAS V Pero Hollywood ya siente (otra vez) la im­ periosa necesidad de remover sus propias y todavía frescas tripas de celuloide. Mirarse a través del espejo. Espejismos en el cine mu­ do. Espejo ante el que Constance Bennet imi­ ta con afectado glamour a la inaccesible di­ va de acento extranjero.¡Las estrellas de ci­ ne llevan estas medias!. Las revistas de mo­ da dictan estilo, y una foto con 1932: la Meca del Cine conmemora el sexto aniversa­ Clark Gable y la Garbo, cómo rio de la muerte del astro Rodolfo Valentino, y hace abrazarse en casto erotismo Me­ tan solo dos años que oimos pedir un whisky con gin­ tro-Goldwyn-Mayer. Hollywo­ ger ale de los labios de la diosa Garbo. Rita Hayworth od, la fábrica de sueños fantás­ todavía no había ofrecido su blanca piel, en ceremo­ ticos y pesadillas terrenales en­ nial striptease con aroma mítico-erótico enfrascado en cerradas en cuchitriles de pen­ lascivo satén, John Wayne cabalgaba a través de wes­ siones baratas. Son los años terns anónimos sin lograr divisar en el pescante de nin­ treinta. La recesión económica guna diligencia al maestro irlandés, y Burt Lancaster lanza a Fay Wray a las manos endurecía músculos en espectáculos circenses, ajeno a del enamoradizo Kong. La im­ la fatalidad enfundada en negro perversión, perdición, posible jungla de la Isla de la que lo aguardaba para su debut cinematográfico. Calavera, se transmuta en res­ taurante frecuentado por pte­ rodáctilos agónicos en busca de la última oportunidad: ¡aún soy taquillero, sigo te­ niendo cartel!. El cocinero reivindicativo del tipo Valentino, esgrime orgulloso un salchi­ chón -¿estará pensando en un remake de EL AGUILA NEGRA?- al enterarse del último chisme: ¡vuelven los tipos latinos!. Y las ca­ mareras se disputan la mesa ocupada por el afamado director, espoleadas por el mismo hambre que aguijoneaba a sus parientes, las damas del teatro (Cukor, antiguo director de Broadway, sin duda hubiese gozado di­ rigiendo a la Rogers, Hepburn y compañía). El director de éxito (interpretado por Lo­ well Sherman) resulta de una curiosa sim­ biosis entre el dandy con trágico final de Max Linder, y un alcoholizado John Barrymore entregado a los brazos de Baco, borracheras divinas, eternas. El teatro Chino de Grauman se viste de gala para otra memorable noche de estreno. Las estrellas descienden del fir­ mamento para ser aclamadas por la insacia­ ble multitud. El ídolo aparece en un viejo au- VERTIGO Cine en el cine Gregory Ratoff, Constance Bennett, Neil Hamilton en HOLLYWOOD AL DESNUDO 29 V tomóvil, a punto para caerse a pedazos en al­ lante del objetivo. Así, el retrato que de la guna frenética persecución filmada por Mack fauna que pulula por Hollywood ofrece el Sennett. La burla al sofisticado glamour holly­ fil m, queda ligeramente desdibujado por un woodense se acerca a Ja autoparodia. Donen trazo quizá en exceso complaciente y edul­ y Gene Kelly tomarían muy buena nota. La corado. Si la fama y el estrellato eran fácil­ voracidad de el público, el gran monstruo mente accesibles para la chica de la puerta sin cabeza que decía Chaplin, todavía pide de enfrente (el sueño americano al alcance más carnaza. Las habladurías divulgadas en de la voluntariosa camarera), las razones del artículos de prensa, ofrecen escándalos a to­ fracaso y la autodestrucción al que está abo­ dos aquéllos que son incapaces de provocar cado el director, resultan demasiado nebulo­ los suyos propios. La referencia a las reinas sas. El gran cuchillo que esgrimiría Aldrich, se encargará de despejar cualquier duda, ra­ jando las hediondas tripas de Hollywood pa­ Hollywood, la fábrica de ra dejar de ver en diáfana brecha, todas su sueños fantásticos y nauseabunda y vergonzosa putrefacción. La pesadillas terrenales nueva mirada sobre idénticos personajes (des­ de la chismosa, ahora mostrando abiertamente encerradas en cuchitriles su capacidad para arruinar carreras cinema­ de pensiones baratas tográficas desde la páginas de Ja revista de turno) es aterradora, y todo aquello que apun­ H OLLYWOOD AL DESNUDO (WHAT PRICE H OLLYWOOD?) ta, que más bien intuimos en la película de RKO, 1932 del cotilleo, a las comadres de Hollywood, Cukor, se confinnará en ese otro film que pa­ George Cukor Hedda Hopper y Louella Parsons, resulta ine­ rece su angustioso negativo. vitable. La Bennett desciende por una gran es­ June Murfin, Ben Markson, Gene Fowler y Rolan Brown La entrada al Estudio no puede tener me­ calinata, en un prueba que le permitirá as­ jor carta de presentación, con esos travellings cender al Olympo de los inmortales. Habrá Charles Rosher que se pasean con sabor documentalista por que esperar casi veinte años, para poder ado­ Carroll Clark los exteriores de los platós. Nos acercamos rar con devoto misticismo el descenso al in­ Jack Kitchen a uno de ellos, cuya entrada está flanquea­ fierno de una auténtica diva: la neurótica. vi­ Max Steiner da por Ja figura de un terrible león (para al­ ciada, patética, descomunal y fantástica Nor­ ¡ . •. gún terrible macro-film bíblico). encargado ma Desmond que interpretó Gloria Swanson, Mary Evans (Constance Ben­ de delimitar la frontera entre la mirada sin o a la inversa. El cine dentro del cine. La nett), Max Carey (Lowell Sherman), Lenny Borden depurar y aquélla que ha sido conveniente­ aspirante a estrella es bautizada como la ami­ (Neil Hamilton), Julius Sa­ mente supervisada para consumo público, ga de América, en arrebatado alarde de ima­ xe (Gregory Ratoff), Cassie (louise Beavers) Butler (Ja ­ púdico. Mirarse al espejo con un difusor de- ginación, en un escenario realmente adecua- mes Eddie Anderson) VERTIGO Cine en el cine 30 V Constance Bennett y Lowell do: la sala de proyecciones. Y Constance gory Ratoff interpreta al productor que no Sherman en H OLLYWOOD AL DESNUDO de George Cuko r. Bennett abandona el estudio encuadrada en­ pierde la ocasión de autodignificar a la in­ tre los férreos barrotes de una verja. Sí, ha dustria, a través de la producción, distribu­ nacido otra estrella entre las fauces de Holly­ ción y exhibición de la boda del año entre la wood. Fama, mansión con piscina y mari­ estrella del cine y el jugador de polo de la do millonario, son los premios alcanzados aristocracia. La reverencial sumisión del mun­ por la mujer independiente de fuerte volun­ do del cine hacia1a high soc'iety. El apasio­ tad, un tipo de heroína muy querida por Cu­ nado productor se nos revela con un sospe- kor y que aquí co- choso parecido al in­ mienza a modelar. cansable y ambicioso Luego vendrán la Fama, mansión con Selznik, precisamen­ Hepburn de LA COS­ piscina y marido te el productor de TILLA DE ADAN HOLLYWOOD AL DES­ (ADAM'S Rm, 1949), millonario, son los NUDO. La actriz Kim Judy Garland con premios alcanzados por la Hunter rizaría el rizo HA NACIDO UNA ES ­ mujer independiente de con su propia boda, TRELLA (A STAR IS organizada por el pro­ BORN, 1954), Judy fuerte vol untad pio Selznick. La dó- Holliday con LA RU- cil estrella que inter­ BIA FENOMENO (IT preta Constance Ben­ SHOULD HAPPEN TO YOU , 1954), o la mismí• nett, se deja manipular por unos y estrujar sima Vivían Leigh, cuya Scarlett O' ara de­ por otros, la masa enloqueciaa, mientras un be buena parte de su éxito al excelente tra­ cámara estratégicamente situado inmortali­ bajo de Cukor (es sabido que continuó diri­ za el evento. Marilyn ocultaría su rostro a la giendo en secreto tanto a Vivían Leigh como salida de una clínica dental, en doloroso ges­ a Olivia de Havilland, después de que Selz­ to del que reclama derecho a la vida priva­ nick lo sustituyese por Víctor Fleming). Gre- da, vida rebelde. Nuestra Louella Parsons VERTIGO Cine en el cine particular, se presenta dispuesta a hurgar en siones de HA NACIDO UNA ESTRELLA de Well­ la intimidad del matrimonio de moda.
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