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El Detective (1968) Ee.Uu

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El Detective (1968) Ee.Uu MIÉRCOLES 17 21‘30 h. Entrada libre (hasta completar aforo) EL DETECTIVE (1968) EE.UU. 114 min. Ttulo Orig.- The detective. Director.- Gordon Douglas. rgumento.- a novela hom!nima de Roderick Thorp. Gui$n.- Abby Mann. Fotografa.- )oseph Biroc (Panavisi!n - De u,e). Monta(e.- Robert Simpson. M)sica.- )erry Goldsmith. Productor.- Aaron Rosenberg. Producci$n.- Arcola- Mill.ield Productions para 20th 1entury 2o,. Int-r.retes.- 2rank Sinatra (Joe Leland), ee Remick (Karen Leland), )ac4ueline Bisset (Norma McIver), Ralph Meeker (teniente Curran), )ack 5lugman (Dave Schoestein), 6orace McMahon ( arrell), 7illiam 7indom (Colin McIver), loyd Bochner (dr. Wendell Roberts), Tony Musante ( elix Tesla), Robert Duvall (Nestor), Al 2reeman )r. (Robbie Louglin). v.o.s.e. Msica de sala: El detective (The detective, 1968) de Gordon Douglas Banda sonora original de Jerry Goldsmith EL DETECTIVE, uno de los me8ores .ilms policiacos de Gordon Douglas, puede situarse en la encruci8ada del thriller polic9aco, en un momento -.inales de los sesenta, con todo lo 4ue de cambio social comportan a4uellos a:os para la sociedad estadounidense y para el sistema cinematogr;.ico hollywoodiense- en el 4ue el clasicismo sucumbe por igual al aire de los nuevos tiempos, en lo negativo (zooms innecesarios, angulaciones de c;mara m;s impuestas 4ue meditadas), y a las metamor.osis sociales y culturales, en lo positivo. Que sean Douglas y 2rank Sinatra, dos persona8es no especialmente liberales, los 4ue rubri4uen este thriller moderadamente progresista no de8a de resultar signi.icativo1. Mientras el ala iz4uierda de 6ollywood se perd9a en dis4uisiciones tem;ticas y nimiedades .ormales, gente .ormada en el sistema de los estudios y caracterizada a veces por un uso ambiguo de la violencia (Gordon Douglas, Don Siegel, Robert Aldrich) vendr9an a poner los cimientos de un nuevo g?nero policiaco 4ue miraba a ras de tierra la realidad 4ue lo envolv9a. EL DETECTIVE adapta una novela de Roderick Thorp -otro de sus libros ser9a llevado al cine dos d?cadas despu?s en /ungla de cristal [Die 6ard, )ohn McTiernan, 1988A- y cuenta con una espl?ndida .otogra.9a de )oseph Biroc, el operador predilecto de Aldrich desde mediados los sesenta: toda la pel9cula est; dominada por el color verde lin!leo con el 4ue est;n pintadas las paredes y puertas tanto de la comisaria de polic9a como del apartamento del sargento de homicidios Joe Leland (Sinatra). a historia arranca con el hallazgo del cuerpo mutilado de un homose,ual de clase alta. Aun4ue abocado por pura inercia a una representaci!n algo tremendista de la homose,ualidad oscura y mercenaria en las calles y bares de Cueva Dork -la secuencia de la redada en los camiones donde se citan varios 8!venes, por e8emplo-, EL DETECTIVE es una de las primeras pel9culas de EconsumoF donde la EotraF se,ualidad est; contemplada de una manera m;s .rontal, ya 4ue lo hace desde el punto de vista de Joe Leland, un polic9a encallecido, solitario, esc?ptico y muy poco burocr;tico, como lo .ueron casi todos en a4uella ?poca cinematogr;.ica (Harry Callahan [1lint Eastwood, 0arr1 el sucio (Dirty 6arry), Don Siegel, 1971A, Dan Madigan [Richard 7idmark, 2rigada homicida (Madigan) Don Siegel, 1968A o ran( )ullitt [Steve McQueen, 2ullitt, Peter Dates, 1968A), 4ue posee esa s!lida mezcla 4ue da la inteligencia, la intuici!n y una cierta cultura ad4uirida. Este resulta uno de los aspectos m;s interesantes y at9picos del .ilm, el cho4ue cultural, tema bastante inusual en este tipo de producciones. Despu?s de 4ue Douglas se pliegue a los designios de las 1 Justo antes y después de EL DETECTIVE, Douglas rodaría con Sinatra las dos películas centradas en el personaje de Tony Rome, un detective de Miami envuelto en intrigas más sofisticadas, mujeres espectaculares y algo jamesbondianas y ambientes hedonistas. Son Hampa dorada (Tony Rome, 1967) y La mujer de cemento (The Lady in Cement, 1968). modas imperantes, de8ando de lado su neoclasicismo -ya vulnerado, con todo, en .ilms anteriores como el western Chu3a, por no hablar de la aparente modernidad de F de Flint- para situar la c;mara encima del ascensor cuando Leland se dirige al apartamento de su e, esposa (Karen: ee Remick), el director incrusta uno de los dos largos .lash backs 4ue ata:en e,clusivamente al auge y ca9da de su relaci!n matrimonial, no muy distinta a la e,perimentada por el agente Madigan en 2rigada homicida, de Siegel. Joe y Karen pertenecen a mundos antag!nicos. Ella sali! del arroyo para convertirse en una chica moderna, ni m;s ni menos, cultivada y rodeada siempre de amigos con 9n.ulas intelectuales 4ue asisten a estrenos y organizan .iestas art9sticas. En una secuencia, la de la salida del teatro, se e,ponen muy bien los con.lictos 4ue a la vez unen y atraen a los protagonistas. Leland ha salido antes de tiempo de la representaci!n. Aparecen Karen y sus amigos. Todos creen 4ue el maduro polic9a, banal hot dog en mano, no tiene ni idea de teatro. Leland asegura entonces 4ue pre.iere al dramaturgo irland?s Sean OI1asey por4ue habla de las alegr9as de la vida y no de la angustia de vivir. Silencio. Una de las amigas asegura 4ue siempre ha pensado 4ue un polic9a con demasiados conocimientos es peligroso: Leland no es un intelectual ni se ha adaptado plenamente a los nuevos tiempos -odia a los psi4uiatras por4ue no le gustan los 4ue intentan 4ue la gente se adapte a un mundo en.ermo-, pero tampoco pertenece al universo tosco de los citados Madigan y Callahan. Ah9 reside su di.erencia, la 4ue le obliga a en.rentarse con un conce8al corrupto y a oponerse dr;sticamente a la .orma en 4ue uno de sus hombres (Nestor: Robert Duvall) humilla a los homose,ualesJ la 4ue le permite a.rontar con una dignidad innata (y muy bien e,presada en la interpretaci!n de Sinatra) temas como la homose,ualidad, la in.idelidad (Karen es nin.!mana), las drogas, la agitaci!n social, la especulaci!n inmobiliaria o la corrupci!n policial, temas 4ue de un modo u otro van adhiri?ndose al cuerpo del relato. D no es un cuerpo convencional. Una vez resuelto el caso del homose,ual asesinado, o eso creen todos menos el propio Leland, Douglas inserta una escena desga8ada de todo lo 4ue hemos estado viendo: se trata de un plano general del hip!dromo de Cueva Dork y una serie de planos cortos sub8etivos de un hombre cayendo desde lo alto del edi.icio. a pel9cula 4ueda rota en dos. 6an pasado dos a:os y lo 4ue parece un nuevo caso, ya 4ue Norma ()ac4ueline Bisset), la esposa del hombre del hip!dromo, no est; convencida de 4ue su marido decidiera suicidarse, contiene en realidad la soluci!n a todas a4uellas cosas 4ue 4uedaron di.usas para Leland, y para el espectador, en el primer blo4ue. 6ay en el inicio de esta aparente segunda parte una situaci!n 4ue de.ine muy bien la direcci!n 4ue toma la pel9cula, El polic9a negro (Robbie Loughlin: Al 2reeman )r.) 4ue en la primera parte parec9a un novato introvertido, es al comenzar la te!rica segunda parte del .ilm un agente violento y ambicioso 4ue 4uiere escalar posiciones, como lo ha hecho Leland resolviendo el caso del homose,ual asesinado, a cual4uier precio. Loughlin interroga a un sospechoso completamente desnudo y le comenta a Leland 4ue as9 se siente m;s vulnerables y hablan m;s r;pidoJ e,plica despu?s, ante la mirada as4ueada de Leland, 4ue lo aprendi! en un documental sobre los campos de concentraci!n nazi, lo 4ue parece una situaci!n m;s propia del 2uller de Corredor sin retorno, en la 4ue un 8oven negro internado en el manicomio se cre9a miembro del 5u 5lu, 5lan. Desde este momento, y 4ueda algo menos de media pel9cula por delante, EL DETECTIVE no es m;s 4ue la con.irmaci!n de la soledad a la 4ue 4ueda abocado su protagonista, elemento e,tra:o, al igual 4ue cineastas como Douglas en a4uel 6ollywood, en un mundo modi.icado del 4ue intenta rescatar una brizna de dignidad. Te4to: Quim 1asas, EEl detectiveF, en dossier EEl thriller estadounidense de los a:os 70F, Dirigido, enero 2007 .
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