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Vertigo. Revista De Cine (Ateneo Da Coruña) Vertigo. Revista de cine (Ateneo da Coruña) Título: Frank Capra vs. Harry Langdon: El hombre cañón Autor/es: Pena, Jaime J. Citar como: Pena, JJ. (1992). Frank Capra vs. Harry Langdon: El hombre cañón. Vértigo. Revista de cine. (5):21-23. Documento descargado de: http://hdl.handle.net/10251/42953 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: FRANK CAPRA vs. HARRY LANGDO,N: 1.- HARRY LANGDON Fue Walter Montague, un viejo actor y propietario de una pequeña productora, quién EL HOMBRE introdujo a Frank Capra en el mundo del cine. O quizás deberíamos decir que fue a costa de ""' Walter Montague como Frank Capra se in­ CANON trodujo en el mundo del cine. Sea como fuere, Montague produjo a Capra su primer cortometraje, FULTAFtSHER'S BOARDING JAIME J. PENA HOUSE (1921), una adaptación de Rudyard Kipling que destaca por su crudeza y realismo, la cual le sirvió al hijo de emigrantes sicilianos para iniciarse en el cine aprendiendo el oficio a la inversa: primero como director, luego como montador, atrezzista, escritor de gags o lo que hiciese falta. De este modo, en 1924, Frank Capra se encontraba trabajando en los estudios de Hal Roach colaborando en la serie de "Our Gang". Un año después, tras firmar un contrato con Mack Sennett, comienza a escribir guiones .. para un nuevo actor cómico: Harry Langdon. los caracteres opuestos del director y la es­ Junto con Arthur Ripley y Harry Edwards, trella, un personaje en permanente Capra modela el personaje de Langdon a lo indefinición y una personalidad tan gazmo­ largo de seis cortometrajes, hasta que éste ña, infantil e insegura fuera como dentro de alcanza la madurez con su primer largo la pantalla. como protagonista: UN SPORTMAN DE Puestas asílas cosas, no debe extrañar OCASION (Tram, Tramp, Tramp 1926)(1). que EL HOMBRE CAÑON aparezca como ( 1) Para una filmografía de F rank Capra pued e Capra dirige la película con Harry Edwards, una especie de oásis en tan tormentosa rela­ consultarse el catálogo pero las diferencias con el protagonista ha­ ción. Capra firma la película y contribuye a Meet Frank Capra, edi­ tad o en 1990 por el cen que sólo figure acreditado en su faceta de que éste sea el triunfo más notable de su American Film Institute. guionista. No será así en las dos nuevas protagonista. Menos alocada y más contro­ películas de Langdon, EL HOMBRE CA­ lada y ternurista que su antecesora -más ÑON (The Strong Man, 1926) y SUS PRI­ cercana a Chaplin que a Keaton, podríamos MEROS PANTALONES (Long Pants, 1927), decir-, EL HOMBRE CAÑON consolida la en las cuales la relación entre la estrella y su imagen del personaje de Langdon como la de ya exclusivo director, Frank Capra, se va un niño en un cuerpo adulto, de actitud tomando imposible. Resultado: Capra es ex­ siempre pasiva y temerosa de las mujeres. pulsado del rodaje de LONG PANTS, Tales eran sus limitaciones que poco más impidiéndosele llevar a cabo el montaje del podría dar de sí. film. 3.- EL EMIGRANTE 2. -EL HOMBRE CAÑONYFRANKCAPRA El itinerario de Paul Bergot (Harry No resulta dificil ver EL HOMBRE Langdon) es sinuoso, pero de una claridad CAÑON como el único de los tres diáfana: desde "donde hubo un huerto flori­ largometrajes para Harry Langdon en el que do en Bélgica", pasando por Nueva York, pueden rastrearse huellas de la autoría de hasta Cloverdale, en el corazón de América. Frank Capra. Y no porque veamos en él Un campo de batalla, en tierra de nadie - síntomas de ello -rasgos de escritura, per­ ¿dónde íbamos a encontrar si no a Langdon?­ sonajes o situaciones que pudiesen anticipar sirve de escenario a las hazañas de un pobre el Capra de los años 30 ... -, sino, simplemen­ diablo incapacitado para el manejo de las te, porque hay una serie de razones objetivas armas pero extremadamente hábil en el uso que así nos autorizan a afirmarlo y estas se de un tirachinas. La guerra vista como un circunscriben a los hechos apuntados ante­ juego que autoriza la utilización de unas riormente. UN SPORTMAN DE OCASION galletas como rudimentaria pero eficaz mu­ es una película firmada por Harry Edwards, nición; la lectura de unas cartas escritas por en la que Capra no fue acreditado, lo que una anónima -o eso nos parece- Mary Brown hace suponer que su participación en su posibilitan que Bergot sea capturado por el diseño global, más allá de la autoría de enemigo y que éste -su guardián, su amo- lo algunos gags o de la dirección de alguna lleve como acompañante a su nuevo destino: escena, fue muy limitada. Otro tanto se América. podría decir de SUS PRIMEROS PANTA­ El personaje de Langdon se diseña en LONES, film que marca la ruptura con torno a una dialéctica entre la pasividad y el Langdon. Su expulsión del rodaje ejemplifica infantilismo que limita considerablemente su capacidad de transgresión y que actúa como una constante rémora en lo que debe­ ría ser su lógica evoluciófl. Su ingenuidad - entendida ésta como ausencia de malicia­ fomenta que su visión de la ciudad de Nueva York sea la de un territorio de perdición. Su virginidad choca con la inmoralidad reinan­ te: la delincuencia, el sexo y, por qué no, también la bohemia, el arte. Losgags sitúan siempre a Bergot-Langdon como víctima de la conjunción y/o sucesión de dichos elemen­ tos. Lástima que en su huida no arrastre a Lily, la falsa Mary Brown, quizás el personaje más maduro e interesante, aquel que podría haber transformado a Langdon en todo un hom­ bre. 4.- UN DISCURSO MORALISTA Bergot no busca como tantos otros la tierra de Promisión. Busca a su chica: Mary del héroe -el traje de Zandow le queda Brown. Una cualidad significativa excesivamente grande- y su actuación - ejemplifica su pureza: ella es ciega. ridícula, bordeando el patetismo- provo­ Como el emigrante de Chaplin, su ca el caos. Se origina una multitudinaria única salida profesional parece radicar en el pelea a la que Bergot responde con un mundo del espectáculo. Como siempre, em­ número no programado: comienza a dis­ prende el camino hacia el interior del país de parar el cañón hacia su poco agradecido forma involuntaria. Es la troupe de Zandow público. la que lo conduce hasta Cloverdale. El sim­ El coro de biempensantes que si­ ple hecho de confundir un queso para untar gue al pastor contempla atónito la caída con una pomada da lugar al gag más de Jericó. Los maleantes huyen en es­ keatoniano de la película: Bergot es arrojado tampida, el "Palace" queda reducido a del furgón para precipitarse por un barranco escombros y su propietario da con sus y caer de nuevo -el coche ha virado en una huesos en un cubo de basura. En justa pronunciada curva- en el mismo asiento que recompensa, Bergot se integra en la co­ ocupaba anteriormente. munidad convirtiéndose en el policía de Pero Cloverdale también ha caido en Cloverdales y en el novio de Mary Brown, manos de la inmoralidad y delculto al dinero, empresas ambas con un mismo objetivo: los cuales "han vencido a la justicia y a la ser el guardián de la pureza. decencia". El cielo y el infierno a pocas man­ zanas de distancia: a un lado la Iglesia, al 5.- ¿UN HEROE CAPRIANO? otro el salón "Palace Music Hall". El pastor ¿Podría verse a Langdon como un EL HOMBRE CAÑON organiza una marcha de siete días en torno anticipo del héroe prototípico del cine de al nuevo Jericó con la esperanza de que al The Strong Man. Capra: el héroe no contaminado por los First National-Harry séptimo día sus murallas se derrumben. males de la civilización, por el dinero? Su Langdon Corporation, Una curiosidad: la hija del pastor responde 1926 inocencia y pureza, también su al nombre de Mary Brown. infantilismo e ingenuidad acercan a Dirección: Frank Todo esto es la consecuencia más di­ Langdon a los protagonistas de títulos Capra. recta de un modo de entender el mundo Guión: Arthur Ripley, como EL SECRETO DE VIVIR (Mr. Frank Capra, Hal absolutamente simplista y maniquea. La Deeds goes to Town, 1936) CABALLE­ Couklin y Robert Eddy. diáfana separación entre bien y mal no se Fotografía: Elgjn RO SIN ESPADA (Mr. Smith goes to Lesley y Glenn contradice con la presentación de una Amé­ Washington, 1939) o JUAN NADIE ( Kershner. rica en pequeña escala en la que sólo parecen Montaje: Harold You.ng. Meet John Doe, 1940). Los separa sin Duración: 75 minutos. existir dos poblaciones -Nueva York y embargo la pasividad de aquel y el Intérpretes: Cloverdale- y en la que ni siquiera la más idealismo de estos. Mientras que Gary Rarry Langdon (Paul absurda casualidad justifica que sea tan Bergot), Cooper o James Stewart creen que pue­ Gertrude Astor (Gold fácil encontrar a Mary Brown. Aunque, como den cambiar el mundo, Harry Langdon Tooth), veremos, todo se reduce a una sencilla Priscilla Bonner (Mary sólo puede aspirar a que el mundo lo Brown), equiparación: Mary Brown es América, o al cambie a él.
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