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El Mensajero Del Miedo (1962) Ee.Uu

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El Mensajero Del Miedo (1962) Ee.Uu VIERNES 4 21‘30 h. Entrada libre (hasta completar aforo) EL MENSAJERO DEL MIEDO (1962) EE.UU. 126 min. Ttulo Orig.- The Manchurian candidate. Dire tor.- John Frankenheimer. Argumento.- La novela hom nima de Richard Condon. Gui$n.- George Axelrod. Fotografa.- Lionel Lindon (B/N). Monta(e.- Ferris We,ster. M)si a.- David Amram. Produ tor.- George Axelrod. John Frankenheimer y Frank 0inatra. Produ i$n.- Mirisch Corporation para United Artists. Int-r.retes.- Frank 0inatra (Bennett Marco). Laurence 2arvey (Raymond Shaw). Janet Leigh (Rosie Chaney). Angela Lans,ury (madre de Raymond). James Gregory (senador John Iselin). Leslie 3arrish (Jocelyn Jordan). John McGiver (senador Thomas Jordan). 2enry 0ilva (Chun in). James Edwards (Melvin). 5high Diegh (Yeng Lo). Al,ert 3aulsen (%ilkov). v.o.s.e. 2 candidaturas a los Oscars: Actriz de reparto (Angela Lansbury) y Monta e Msica de sala: El mensajero del miedo (The Manchurian candidate, 1962) de John Frankenheimer Banda sonora original de David Amram 0eg6n el guionista del film. George Axelrod. EL MENSAJERO DEL MIEDO ,se convirti- de un fracaso en un cl.sico, sin pasar por el 01ito2. La historia de 8detr9s: de esta pel;cula es famosa: a las grandes productoras les asusta,a el proyecto de llevar a la pantalla la novela de Richard Condon hasta que Frank 0inatra persuadi a United Artists de que al presidente 5ennedy le divert;a esa novela; tras el magnicidio de Dallas. 0inatra compr los derechos de la pel;cula y la retir de la circulaci n durante m9s de 15 [email protected] La historia de 8delante: Ael ca,reo provocado por la pel;cula a diestro y siniestro- no lo es menos: en 3ar;s los comunistas organiBaron piquetes contra ella; en el condado de Crange. la Legi n Americana se manifest indignada; en Espa@a Aconvenientemente aligerada de la primera secuencia- la cr;tica de tendencia cahierista la reci,i muy mal porque la considera,a como un producto t;pico de la llamada generaci n de la televisi n. que para los pap9s-cr;ticos del 8Cahiers: galo era el perfecto eDemplo del tipo de cine que siempre ha,;an com,atido y detestado. Eista hoy. EL MENSAJERO DEL MIEDO es una o,ra magn;fica. rotunda y fascinante. el 6ltimo -por no decir definitivo- thriller de la Guerra Fr;a. y el primer thriller pol;tico de la historia del cine. la pel;cula creadora de ese su,gFnero que es el drama de pol;tica-ficci n alimentado por la paranoia de un mundo de sospecha generaliBado en el que lo peor es siempre no s lo pro,a,le. sino cierto. RealiBada en 1962. la pel;cula fue un accidente en la carrera de John Frankenheimer. consecuencia directa de su despido de Desayuno on diamantes a causa de sus desacuerdos con la actriB protagonista. Las presiones de Audrey 2ep,urn lograron finalmente su o,Detivo y Frankenheimer fue sustituido por Blake Edwards. George Axelrold. que intervino en la pel;cula como guionista adaptando la novela de Capote. consider inDusto ese despido y en la primera ocasi n que se le present -produDo con 0inatra el film aunque en los t;tulos de crFdito apareBca el director en veB del actor-. no dud en proponer a Frankenheimer como realiBador. 1 La retirada no solamente afectó a EL MENSAJERO DEL MIEDO, sino también a otro magnífico thriller protagonizado por Sinatra titulado De repente (Suddenly, Lewis Allen, 1954), que trataba de la llegada de tres hombres a una pequeña ciudad de California para disparar contra el presidente de los EE.UU. A esta retirada parece que contribuyó el hecho de que Lee Harvey Oswald había estado viendo el film justo antes del asesinato de Kennedy. A partir de la novela hom nima de Condon Aautor que m9s tarde adquirir;a notoriedad por 8El honor de los 3riBBi:. que servir;a de ,ase a la pel;cula de John 2uston-. se relata,a una historia de pol;tica ficci n. inaugurando una serie de films que aparecieron entre los a@os 1962 y 1965 y en los que el an9lisis de la situaci n pol;tica norteamericana era com6n y prioritario. As; el film dirigido por Frankenheimer se sit6a Dunto a t;tulos. como Tem.estad so0re 1ashington (Ctto 3reminger. 1962). GTel-fono Ro(o2, volamos ha ia Mos ) (0tanley 5u,rick. 1964). Punto lmite (0idney Lumet. 1964). El me(or hom0re (Franklin J. 0chaffner. 1964). Estado de alarma (James B. 2arris. 1965) o la siguiente de Frankenheimer. Siete das de mayo (1964). o,ras en las que se a,ordan. desde diferentes prismas. los ,astidores del compleDo sistema pol;tico entrelaBado con el militar en plena psicosis de Guerra Fr;a. y con el denominador com6n de un tono cr;tico contundente. La Administraci n 5ennedy permiti . e incluso se complaci de que se pudieran realiBar este tipo de pel;culas -Siete das de mayo cont no s lo con el ,enepl9cito del presidente de los EE.UU. sino incluso con su apoyo entusiasta-. una posici n que no adoptar;an sucesivas administraciones. Esta es una ,uena muestra de la talla humana y profesional de John F. 5ennedy. para quien su destino quiso que el desenlace del film de Frankenheimer tuviera un cierto parecido con el suyo. El car9cter de pel;cula h;,rida que posee EL MENSAJERO DEL MIEDO quiB9 proceda de su peculiar posici n de avanBadilla de un tipo de cine cuya comercialidad siempre estuvo puesta en entredicho. No conviene olvidar que los films citados pertenecen a cineastas como 5u,rick. Lumet. Frankenheimer o 2arris -el productor de las pel;culas de 5u,rick-. D venes re,eldes con fama de intelectuales. y que en a,soluto pueden considerarse como representativos del cine de 2ollywood de la Fpoca. 0in duda uno de los pasaDes m9s recordados del film corresponde a la visualiBaci n que hace Frankenheimer de las pesadillas que sufren los personaDes: el cineasta logra una h9,il distorsi n de la realidad. nada enf9tica. mediante un magn;fico travelling circular so,re los asistentes de lo que. a simple vista. aparenta ser una a,urrida reuni n de un clu, femenino formado por orondas se@oras con pamelas que disertan so,re el cultivo de las hortensias. pero que poco despuFs se revela en realidad. y en el mismo plano. como una reuni n de autoridades militares soviFticas y coreanas que asisten a una conferencia so,re el resultado del lavado de cere,ro del protagonistaItoda una demostraci n de la extraordinaria pericia y capacidad visual del director neoyorquino. El maquiavFlico plan para hacerse con el go,ierno de Estados Unidos que plantea la trama del film toma cuerpo mediante el s lido gui n de Axelrod y la no menos s lida puesta en escena de Frankenheimer que ordena las tomas en relaci n a la tensi n psicol gica de los personaDes de Raymond Shaw (Laurence 2arvey) y Bennett Marco (Frank 0inatra). As; resulta admira,le la forma en que est9n narrados los asesinatos que comete Raymond: el del editor 3aines. en un solo plano. eludiendo presentar directamente las im9genes. dado que resultan innecesarias. y utiliBando el cuerpo de Raymond para cu,rir enteramente la pantalla; y los de los Jordan. sintetiBados en unos escasos planos-contraplanos. o,edeciendo m9s al sentido de sugerir que al de mostrar: la c9mara se sit6a a nivel del suelo. y encuadra la mano insensi,le de Raymond. suDetando el arma sin ninguna necesidad de ense@arnos el rostro del homicida; o el l;quido fluyendo del aguDero que ha hecho la ,ala en el cart n de leche que tiene el senador en la mano. Igual de ,rillante resulta la idea visual de que Marco localice a Raymond. en la convenci n. al darse cuenta de que el 6nico punto luminoso que hay en el estadio -durante la interpretaci n del himno nacional todas las luces se apagan- s lo puede proceder del cuartucho desde donde este se prepara para disparar Aidea inspirada. seg6n pala,ras del propio Frankenheimer. en Enviado es.e ial (1940) de Alfred 2itchcock y en esa escena en la que las aspas de un molino de viento giran en sentido inverso a las de los dem9s-. En esta misma l;nea de sugerir mediante la planificaci n ha,r;a que destacar la presentaci n de Chun in (2enry 0ilva) en el campo de ,atalla coreano. rodada con uno de los ha,ituales encuadres del realiBador poniendo a este personaDe en primer tFrmino del encuadre. lo que insin6a el car9cter poco fia,le de alguien que. a los pocos segundos. no tardar9 en revelarse como un traidor; la ,rusquedad e incomodidad de las relaciones de Raymond con su madre (una esplFndida Angela Lans,ury -a la que 0inatra no quer;a contratar-. cuya la,or dota de una particular consistencia a su personaDe) y con su padrastro. el reaccionario senador John Iselin (un no menos excelente James Gregory). expresada en la escena que comparten en el interior del coche; o la influencia manipuladora de la madre de Raymond. visualiBada a travFs de los diversos planos que la muestran mirando por un monitor de televisi n. con expresi n complacida. la actitud de su marido durante una tumultuosa rueda de prensa. La configuraci n del matrimonio Iselin es un elemento fundamental en EL MENSAJERO DEL MIEDO. La madre de Raymond. una de las figuras femeninas m9s perversas que han aparecido nunca en la pantalla. pasa de ser una fiel y eDemplar esposa a canaliBar las aspiraciones de su marido.
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