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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: La ciencia-ficción en el cine de Jack ArnoId. El espacio ambiguo de la monstruosidad Autor/es: Heredero, Carlos F. Citar como: Heredero, CF. (1994). La ciencia-ficción en el cine de Jack ArnoId. El espacio ambiguo de la monstruosidad. Nosferatu. Revista de cine. (14):100-115. Documento descargado de: http://hdl.handle.net/10251/40894 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: Revenge of the Creature (1 955), de Jack Arnold La ciencia-ficción en el cine de JackArnold El espacio ambiguo de la monstruosidad Carlos E Heredero asta comienzos de los rar en su actividad. Tampoco amanuense contratado ocasio­ años setenta, la figura y la desde las páginas antagonistas nalmente por diferentes estudios Hfilmografia de un cineas­ de Positif, y ni siquiera desde la de un Hollywood en crisis. ta llamado Jack Amold habían perspectiva militante de Ber­ pasado completamente desaper­ trand Tavemier (un apasionado Será necesario esperar, por tan­ cibidos para los ojos de la crítica "apóstol de la serie B", con el ol­ to, a las llamadas de atención del y de la historiografía. La reivin­ fato algo irregular), se cae en la británico John Baxter ( 1), del dicación "cahierista" de inspira­ cuenta de las notorias singulari­ francés Jean-Marie Sabatier (2) ción hitchco-hawksiana y su es­ dades implícjtas en la trayecto­ y del norteamericano John Bros­ forzada "puesta en valor" de nu­ ria de quien, por aquel entonces, nan (3) para empezar a mirar merosos directores americanos no pasaba de ser un osctu·o arte­ con atención el trabajo de este antes ignorados, no llegó a repa- sano de segunda línea, casi un hombre. A partir de entonces, el rnana pequeña -Sylvia- le da sus te, a la fuerza aérea en servicios int\!n:s por su obra comienza a primeras lecciones de danza. civiles. arraigar en Europ~ •. y ya ~n Con el comienzo de la ''Gran )Q82. bajo el ausptctO de Btll Depresión", Amold ingresa en Tras el final de la contienda, Ar­ Krohn, Cahiers du Cinéma pu­ hlica una amplia entrevista don­ la American Academy of Dra­ nold empieza a realizar, perso­ de: John Landis dialoga con su matic Arts y allí encuentra como nalmente, numerosos documen­ admirado colega y predecesor a compañeros, entre otros, a Hu­ tales y películas promocionales sueldo de la Universal (4). En me Cronyn, Betty Field y Gar­ (hasta un total de 25) para el De­ paralelo, diferentes festivales in­ son Kanin. Desde 1933 interpre­ partamento de Agricultura y pa­ tc:rnacionales dedicados a la ta pequeños y medianos papeles ra diferentes instituciones priva­ ciencia-ficción vuelven sus ojos en los escenarios de Broadway, das. Así es como llega a rodar, hacia las imágenes filmadas por consigue acceder después a las en 1950, su primer largometra­ Amold (5). ayudantías de dirección y en je: With These Hands, una pro­ 1940 ejerce ya como productor ducción del Intemational La­ Nada más lógico, por otra parte, de una obra musical, titulada dies Garment Workers Union, si se tiene en cuenta que este mo­ "Bright Lights". donde se nana la historia del desto realizador dirige, en el sindicato con el formato de un corto espacio de seis años ( 1953/ Aproximadamente por estas fe­ documental dramatizado y por 1958, ambos inclusive) un total chas es cuando el futuro direc­ el cual obtiene una nominación de quince películas y, entre éstas, tor de cine, valiéndose de una para el Osear. El premio, des­ nada menos que siete títulos sig­ pequeña cámara casera de 16 pués, se queda fuera de su alcan­ nificativos inscritos en el territo­ tnrn., comienza a filmar a los ac­ ce, pero el prestigio conquistado rio de la ciencia-ficción y del tores mientras éstos, inadverti­ le abre las puertas de la industria cine fantástico. Siete largome­ damente, trabajan delante del gracias a un conh·ato con la Uni­ trajes que, además, son solamen­ público. La debacle de Pearl versal: el estudio que va a con­ e :J te la parte visible del iceberg, ya Harbar le sorprende interpretan­ fom1ar, y a marcar de forma in­ que el interés, los coqueteos y do un papel en el musical "My deleble, la etapa más larga y L:r:J los proyectos de Amold en tor­ Sister Eileen" (7) y la entrada en característica de toda su trayec­ ·~ no al género amplían considera­ guen-a de los Estados Unidos toria como director. e :J blemente el campo para explo­ trUnca, de manera definitiva, la rar. Conviene ir más despacio, carrera del actor. Sus deseos ini­ Tras un periodo inicial de apren­ ::r---- por consiguiente. ciales consisten entonces en alis­ dizaje, el largo periplo de Jack tarse de cadete para enh·enarse Amold en la factoría creada por x::J ( como piloto de aviación, pero Carl LaemmJe se extiende desde c--:J- El camino hacia la industria sólo encontrará una manera 1953 hasta 1959 y abarca unto­ -ciertamente singular- de acer­ tal de quince títulos, pero entre c :J Hijo de una pareja de jóvenes carse al ejército ... medias cabe registrar, en 1958, e J emigrantes rusos, Jack Amold dos fugas aisladas: a la Me­ nace en New Haven (Connecti­ Asentando en el viejo estudio de h·o Goldwyn Mayer y a la Para­ ·~ cut) el 14 de Octubre de 1912 la Paramount, el Signa! Corps mount para dirigir, respectiva­ (6), y ya durante los años treinta (adscrito al Depa1iamento de mente, High School Confiden­ empieza a interesarse por la Estado) buscaba un operador tial! y The Space Children. ciencia-ficción, especialidad a la para el rodaje de documentales Posteriormente, y cuando ya el que se hace adicto leyendo Ama­ de propaganda. Amold, que ja­ viejo sistema de producción ha­ zing Stories. Desde la misma más en su vida había visto una bía entrado en crisis terminal, adolescencia, sin embargo, culti­ cámara de 35 mm., consigue Amold reorienta su canera y va una vocación explícita de ga­ unas horas para familiarizarse encamina los pasos hacia la tele­ narse la vida en el teatro, y hacia con el equipo que posee el padre visión, donde llega a dirigir, el arte dramático encamina sus de un amigo, se presenta después hasta bien entrados los años primeros pasos profesionales. a la pmeba, gana la plaza y, para ochenta, casi doscientos episo­ asombro propio, es asignado in­ dios de múltiples series: Perry Cuando la familia se traslada a mediatamente como ayudante Mason entre ellas. Mientras tan­ Nueva York y empieza a pros­ de Robert Flaherty. Ocho meses to, su ritmo de trabajo en el cine perar económicamente, antes de de aprendizaje fértil junto al va descendiendo y empieza a ser que el padre (un afortunado co­ maestro (a lo largo de 1942) le contratado, alternativamente, rredor de bolsa) se arruine por proporcionan, a la vez, sus pri­ por unas u otras productoras, re­ completo cuando sobrevenga el meras lecciones de cine y el pa­ gresando a la Universal en 1964 crack financiero de 1929, su her- sapmte para acceder, finalmen- para realizar The Lively Set y l~t filmando, en total, nueve pelícu• pre después de haber sido asig­ la complicidad o la audacia del las más hasta llegar a Conspira­ nado a cada proyecto sin consul­ correspondiente productor eje­ ción en Suiza (The Swiss Cons­ ta previa, están escritas y reescri­ cutivo. piracy, 1976), con la que se cie­ tas por varios guionistas, filma­ rra definitivamente su filmogra­ das en diez o catorce días, a ra­ Sin tener en cuenta la dicotomía fia. zón de ocho, nueve o diez pági­ expresada por el mecanismo del nas por cada jornada, a partir de sistema y por la potencialidad de un guión definitivo y con un sus "diferenciales" internos no Un artesano amante de la montaje (en el que no participa es posible comprender el desa­ ciencia-ficción el director) siempre controlados n·ollo que ofrece la obra de Jack muy de cerca por el producer Amold en el ten·eno de la cien­ Por el talante y la formación -o productor ejecutivo- de cada cia-ficción. A la sazón, una patie personal, pero también como su­ título, con actores impuestos por decisiva de esa filmografia apa­ jeto de unas precisas coordena­ la nómina de segunda línea del rece bajo el padtinazgo de dos das históricas, toda la trayectoria estudio, con presupuestos muy productores: William Alland y de Jack Amold en el seno de la reducidos y obligando a todos Albert Zugsmith. El primero, Universal se identifica con la los artesanos implicados a mul­ antiguo actor y ayudante en el práctica de un director adaptado tiplicar su inventiva y a poner a Mercury Theatre de Orson W e­ como un guante a un sistema de prueba su profesionalidad. lles -con quien luego colabora producción muy específico y fé­ en Ciudadano Kane (Citizen rreamente codificado (el de la Sin embargo, a las alturas de Kane, 1940) (8)-, es el productor serie "B" de los grandes estu­ 1953 el funcionamiento de este de siete de sus películas y, entre dios) que se encuentra, sin em­ esquema va ganando permeabi­ ellas, las cuatro primeras incm­ bargo, en su fase crepuscular.
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