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El Relato Histórico En Juarez (Dieterle, )

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El Relato Histórico En Juarez (Dieterle, ) Artículos / Eje 4. El cine: entre el relato histórico, el arte y la política El relato histórico en Juarez (Dieterle, ) Carlos A. Belmonte Grey Université d’Evry-Paris Saclay/ Universidad de Guadalajara Resumen Este artículo propone un análisis de la película Juarez, Palabras clave: dirigida por William Dieterle en y exhibida en cines cine e historia, Dieterle, estadounidenses y mexicanos en . La cinta fue producida Juarez, New Deal, antinazismo por la Warner, que contrató a los renombrados actores Paul Muni y Bette Davis; tuvo el apoyo del presidente de México, Lázaro Cárdenas, quien puso a disposición de la producción documentos de Benito Juárez y entrevistas con testigos de la época, ofreció un recorrido por los lugares históricos y prestó el Palacio de Bellas Artes para la premier latinoamericana. Se propone debatir la idea de cine e historia: el cine histórico es una interpretación de la historia pasada y se convierte, al mismo tiempo, en un documento para la historia presente. En ese sentido, se plantean dos objetivos: mostrar cómo se construyó el relato histórico cinematográfico de la intervención francesa (–) y cómo vehiculizó los mensajes contra el nazismo, del New Deal y la lucha de la democracia. Culturas · Debates y perspectivas de un mundo en cambio · Abstract Historical Narrative in Juarez (Dieterle, 1939) is article analyzes the film Juarez () directed by Keywords: William Dieterle, screened in American and Mexican cinema and history, Dieterle, cinemas in . e film, produced by Warner, starred Juarez, New Deal, antinazism. the famous actors Paul Muni and Bette Davis, and it had the support of the Mexican president, Lazaro Cardenas, who provided the production with Benito Juarez’s docu- ments as well as with interviews of witnesses of the time. He also offered a tour of historical places and he offered the Palace of Fine Arts for the Latin American premier. is article intends to discuss the concept of cinema and history: historical cinema is an interpretation of past history and it changes, at the same time, into a document for recent history. In this regard two objec- tives are posed, to show how the historical film of the French intervention was constructed (–), and how it transmitted messages against Nazism, the New Deal and the fight for democracy. Resumo Este artigo propõe uma análise do filme «Juarez», diri- Palavras-chave: gido por William Dieterleem , exibido em cinemas cinema e história, americanos e mexicanos em . O filme foi produ- Dieterle, Juarez, New Deal, antinazismo. zido pela Warner que contratou os renomados atores Paul Muni e Bette Davis, e teve o apoio do presidente mexicano Lazaro Cardenas. O presidente colocou à disposiçao da produção os arquivos de Benito Juarez, bem como entrevistas de testemunhas da época. Ele também ofereceu um passeio por lugares históricos e emprestou o Palácio de Belas Artes para o lançamento do filme na América Latina. O artigo visa igualmente a debater a ideia do cinema e da história: o cinema histórico é uma interpretação da história passada e se torna, ao mesmo tempo, um documento para a história recente. Nesse sentido, · El relato histórico en Juarez. Belmonte Grey dois objetivos são pretendidos: demonstrar como se construiu o relato histórico cinematográfico da inter- venção francesa (-), e como foram veiculadas mensagens contra o nazismo, do New Deal e da luta pela democracia. Introducción interpretar la historia. Es decir, se propone Juarez1 fue una película —bajo el esque- reconocer que el cine histórico —ese que ma del biopic— dirigida en por el se preocupa por presentar el pasado y no director alemán exiliado en los Estados solo el uso escenográfico— forma parte Unidos, William Dieterle. Esta fue la del conocimiento de la historia desde el primera de una serie de cintas producidas momento en que es una interpretación por la Warner Bros entre y . del pasado puesta en un relato y, por otro Eran el preámbulo de la cinematogra- lado, el análisis del documento para expli- fía de advertencia contra al nazismo y car y comprender un momento dentro de los movimientos políticos europeos; y los procesos históricos.2 también fueron mensajeras de la política En este orden ideas, el artículo se divide del Buen Vecino programada por el en dos apartados: el primero recupera la presidente Franklin Delano Roosevelt, creación de la obra fílmica subrayando los cuyos objetivos eran fomentar el progre- elementos que conformaron la interpre- so continental, terminar la intervención tación del pasado y su puesta en escena, militar y formar un bloque defensivo ante se incluyen algunos juicios de veracidad cualquier amenaza extranjera. a los que la película fue sometida a fin En este artículo se plantea un doble de sondear el peso de la manipulación problema: el uso del cine como fuente his- y engaño histórico; el segundo, anali- tórica y la validez del cine histórico para za el documento para comprender el 1 Nos referiremos al personaje histórico cuando aparezca «Juárez» con acento, y a la película cuando sea sin él y con cursivas Juarez. Este artículo tuvo una primera edición en la revista Letras Históricas, (8), 2013. Esta nueva edición ha sido corregida, modificada y orientada hacia el análisis documental. 2 Una noción de Cine e Historia actualizada se puede encontrar en la entrevista a Marc Ferro, Serge Blerald (Dir.) Cinéma et histoire, EHESS, 8 diciembre 2015: http://www.canal-u.tv/video/ ehess/cinema_et_histoire_entretien_avec_marc_ferro.26503 Culturas · Debates y perspectivas de un mundo en cambio · movimiento antinazi de los exiliados iluminación sobre su rostro rodeado por alemanes, la política del buen vecino y el sombras y fondos negros. Mientras tanto debate en favor del modelo democrático, en México, el presidente constitucional para ello se siguen las pistas iconográficas Benito Juárez lucha por salvar, a pesar de y transtextuales de la obra. su nomadismo, un gobierno que se con- sidera legítimo y democrático. Estas dos El relato histórico de Juarez primeras secuencias plantean el conflicto El filme Juarez comienza en un salón de de la historia: la resistencia democrática la corte francesa en donde el emperador frente a la invasión imperialista. Los Luis Napoleón Bonaparte, rodeado por casi minutos de duración del filme sus ministros, su esposa la emperatriz abarcan desde , con la designación Eugenia y el mexicano Montares —repre- imperial de Maximiliano, hasta con sentante del partido conservador—, pro- el fusilamiento de este y la restauración nuncia un alegre discurso sobre el estado de la República. Durante todo ese tiempo que guarda su proyecto de regeneración —fílmico— el espectador estará sumido racial y política en México. Sin embargo, en escenas de largos y pedagógicos diá- su felicidad se ve truncada cuando recibe logos. La película cuenta, entonces, la una nota de su embajador en Washing- historia de la resistencia de Benito Juárez ton, A. Mercier, que le informa acerca de frente a la intervención napoleónica y el la derrota de los confederados del sur de periodo de emperador Maximiliano de los Estados Unidos y la inminencia del Habsburgo en México. fin de la guerra civil, amenazando con La productora de cine Warner Bros ello alguna acción del presidente Lincoln ( en adelante) y el director alemán para aplicar la famosa Doctrina Monroe. exiliado en Estados Unidos comenzaron Es entonces cuando Eugenia propone a rodar el de octubre y termina- una solución para la comprometida si- ron el de febrero de . Esta sería la tuación francesa —retirarse o enfrentarse producción más ambiciosa de su hasta a los norteamericanos—: nombrar a un entonces ya exitosa vida dentro del mun- emperador europeo elegido por el pueblo do hollywoodense. Este fragmento de la mexicano, anulando así la justificativa de historia norteamericana (por geografía aplicar la Doctrina Monroe. Napoleón, de América se incluye México y Estados entusiasmado, apoya la idea y eligen al Unidos) costaría dólares. Fue- Archiduque de Austria, Maximiliano de ron contratados los consagrados actores Habsburgo. La figura grotesca, colérica del momento, Paul Muni y Bette Davis. y ladina de Napoleón es insinuada en La escritura del guion tendría especial toda la escena gracias al recurso de la interés porque se contrataría al historiador · El relato histórico en Juarez. Belmonte Grey Aeneas Mackenzie para realizar una seria productora, el director y el gobierno. En investigación histórica. Finalmente se este sentido, la manipulación de hechos integrarían al equipo John Huston y en el cine de ficción con mensaje político Wolfgang Reinhardt para que auxiliasen era una de las características principales en la descripción fílmica de los personajes. de Dieterle (Gomez, –:–). El proyecto estaba pensado como el Frank Nugent escribió en el New York colofón del género del biopic que hasta Times al referirse al biopic e Story of entonces había ofrecido jugosos benefi- Louis Pasteur: cios económicos y reconocimientos por los críticos del cine, sobre todo al director en la vida de Pasteur, un científico que y al actor principal quienes habían labra- murió hace años pero que dejó una do su fama en este género. Los biopics vibrante huella por su paso, la Warner e Life of Emile Zola (, La vida de ha escogido un sujeto que debería hablar Emilio Zola), e Story of Louis Pasteur personalmente a cada audiencia y debería (, La vida trágica de Luis Pasteur), recibir, a cambio, algo más que la atención Juarez () y Dr. Ehrlich´s Magic Bullet transitoria de un película ordinaria (…) el (, El quinto jinete del Apocalipsis) por estudio de Hollywood creó un film que es mencionar algunos de los dirigidos por al mismo tiempo, un monumento para la Dieterle, merecieron nominaciones al vida de un hombre.3 Oscar y dibujaron una nueva oferta de cine ya no solo para el entretenimiento, La estaba satisfecha por los resul- como era la noción general al referirse al tados de sus anteriores biopics, pues se cine, sino también la posibilidad de crear jactaba de aplicar métodos de investiga- obras históricas de calidad.
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