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Correspondencia Entre Luis Buñuel Y Amos Vogel Jo Evans Y Breixo

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Correspondencia Entre Luis Buñuel Y Amos Vogel Jo Evans Y Breixo Dossier: Correspondencia entre Luis Buñuel y Amos Vogel Jo Evans y Breixo Viejo University College London Abstract This dossier contextualises and reproduces the correspondence between the New York-based Austrian film curator Amos Vogel and the Spanish-Mexican filmmaker Luis Buñuel between 1954 and 1976. Buñuel and Vogel exchanged fifteen letters that have not yet been published as a whole. All 15 have been edited and reproduced here for the information they provide into Buñuel’s relationship with Vogel and the original insight they bring to the reception of Buñuel’s cinema in the US from the 1950s onwards. Este dossier introduce y contextualiza la correspondencia entre el cineasta español Luis Buñuel y el comisario de cine austríaco afincado en Nueva York Amos Vogel. Se trata de quince cartas originales fechadas entre 1954 y 1976, nunca antes publicadas en su totalidad, que se incluyen íntegras tras la introducción de los editores. El principal valor del epistolario reside en que aporta información inédita no sólo sobre la relación personal entre ambas figuras sino también acerca de la recepción del cine de Buñuel en Estados Unidos a partir de la década de 1950. Keywords Luis Buñuel, Amos Vogel, correspondence, Cinema 16 1 Como parte de nuestro proyecto actual de editar un volumen con las cartas escogidas de Luis Buñuel, hemos transcrito recientemente su correspondencia con el historiador y comisario de cine Amos Vogel (1921-2012).1 Se trata de quince cartas originales fechadas entre 1954 y 1976 y depositadas en dos legados diferentes, el Archivo Buñuel en la Filmoteca Española de Madrid y los Amos Vogel Papers en la Columbia University de Nueva York. El principal valor de esta documentación reside en que aporta información inédita no sólo sobre la relación personal entre ambas figuras sino también acerca de la recepción del cine de Buñuel en Estados Unidos a partir de la década de 1950. Amos Vogel nació en Viena en el seno de una familia judía y, tras la anexión de Austria por parte del Tercer Reich, se exilió a Nueva York, donde, en 1947, fundó Cinema 16, ‘the most successful and influential membership film society in North American history’.2 Como co-director de este cine club junto a su mujer Marcia, estrenó por primera vez en Estados Unidos largometrajes de cineastas como Michelangelo Antonioni, Robert Bresson, John Cassavetes, Nagisa Oshima, Roman Polanski y Alain Resnais, entre muchos otros. Su papel en la exhibición del cine experimental americano de la época—desde Kenneth Anger y Maya Deren a Stan Brakhage y Shirley Clarke—fue también pionero y antecedió en este sentido al célebre Anthology Film Archive. Aunque las primeras películas de Buñuel se habían proyectado ya en esporádicos pases en Nueva York y Los Angeles en las décadas de 1930 y 1940,3 fue Cinema 16—que llegó a contar con 7,000 miembros—donde por primera vez se dio a conocer Un Chien andalou (1929) y Tierra sin pan (1933) ante un público amplio en Estados Unidos. Vogel proyectó el cortometraje surrealista en noviembre de 1948 y diciembre de 1950, y el documental sobre Las Hurdes en marzo de 1949 y mayo de 1952. El éxito de estas proyecciones, así como cierto impacto causado por el estreno en salas comerciales de Los olvidados (1950)— 1 Este proyecto de edición, titulado Luis Buñuel: A Life in Letters, es posible gracias a una generosa Beca de Investigación (2015-2018) de The Leverhulme Trust. 2 Scott MacDonald, Cinema 16: Documents toward a History of the Film Society (Filadelfia: Temple University Press, 2002), 1. 3 Fernando Gabriel Martín, El ermitaño errante: Buñuel en Estados Unidos (Murcia: Tres Fronteras, 2010), 136-154 y 792-793. 2 bajo el título de The Young and the Damned4—en marzo de 1952, hicieron que Vogel se animase a organizar el primer ciclo retrospectivo sobre el cine de Buñuel en Norteamérica. Por dicho motivo se inició la correspondencia entre ambos, intensa pero intermitente, que, a nivel cronológico, puede hoy dividirse en tres grupos correspondientes a tres décadas diferentes. El primer conjunto está formado por siete cartas fechadas entre marzo de 1954 y junio de 1956; el segundo, por dos misivas de junio de 1960 y octubre de 1963; y el tercero, por seis cartas escritas entre octubre de 1972 y enero de 1976. Década de 1950 Vogel escribió por primera vez a Buñuel el 16 de marzo de 1954 presentándole Cinema 16 e invitándole a dar una charla con motivo del ciclo. Como en las siguientes semanas no obtuvo respuesta, reenvió esa misma carta a México el 4 de mayo de 1954, esta vez con un pequeño añadido: ‘I am certain that the proposal made in it for a guest appearance at Cinema 16 would be of definite mutual advantage. As a long-time admirer of your work I would feel privileged to be able to arrange for this special event and am confident to hear from you in the affirmative’.5 La respuesta de Buñuel, que en mayo de 1954 estaba en Francia ultimando el contrato de Cela s’appelle l’aurore (1956) y formando parte del jurado del 7o Festival de Cine de Cannes, no llegó hasta el mes siguiente, para informar a Vogel que no podría asistir a Nueva York debido a su trabajo en los rodajes de El río y la muerte y Ensayo de un crimen, ambas estrenadas en México en 1955. 4 José Rubia Barcia, “Luis Buñuel’s Los olvidados”, The Quarterly of Film, Radio and Television, 7:4 (verano de 1953), 392-401. 5 Carta de Amos Vogel a Luis Buñuel, Nueva York, 4 de mayo de 1954. Como tampoco recibió respuesta a esta segunda carta, reenvió una tercera el 21 de mayo de 1954, esta vez a nombre de Lotte Escoffier (pseudónimo de Lotte Eisner), a la Cinémathèque française de París: “Dear Mr. Buñuel: I contacted you in Mexico a few months ago but since I had no reply, I assume that this letter did not reach you. Permit me to paraphrase it below”. Para evitar redundancias, no hemos incluido estas dos versiones de la primera carta de Vogel a Buñuel; ambas se encuentran en Amos Vogel Papers, Rare Book and Manuscript Library, Columbia University (Subseries I.2: Correspondence, 1947-1996; Box 5, Folder 13). 3 Pero es indudable que Buñuel entendió la propuesta de ‘mutual advantage’, pues el 17 de septiembre de 1954 envió un conjunto de recortes de prensa sobre Él (1953) para que Vogel pudiera preparar adecuadamente la presentación del film en Cinema 16. En la carta que acompañaba los recortes de prensa, Buñuel revelaba además varios datos importantes sobre la película, como la duración del rodaje, el presupuesto final de producción, la crítica velada que el largometraje hacía a la moral burguesa y la descripción ‘objetiva’ del comportamiento paranoico de Francisco, el protagonista del film.6 La carta de Vogel del 3 de febrero de 1955 es especialmente valiosa, pues describe la tumultuosa reacción del público ante las que fueron las cuatro primeras proyecciones de Él en Estados Unidos, el 25 y 26 de enero de 1955.7 En este sentido, complementa perfectamente otra carta, la que Buñuel envió a sus amigos Luis y Janet Alcoriza unos meses antes, donde el cineasta comentaba con detalle la acogida entre numerosos psiquiatras franceses (incluido Jacques Lacan) tras la proyección del film organizada por la Unesco en París en mayo de 1954.8 Vogel informaba además de la reacción positiva en Nueva York del historiador de cine Jay Leyda, a quien Buñuel había conocido en París en 1925 y con quien había coincidido trabajabando para el Museum of Modern Art (MoMA) en 1940.9 Frente a algunas críticas negativas de Él que Cinema 16 publicaría en sus hojas de sala de marzo de 1955, la posición de Leyda a favor del film quedaba bien clara: ‘Él embodies some of the basic weapons of the Surrealist movement— it employs melodramatic means to attack the poison of melodrama; it insults the passive audience (but not the audience’s intelligence) and turns passivity into boiling, troubling thought’.10 6 La carta del 17 de septiembre de 1954 se reproduce en Cinema 16, pp. 239-240. 7 Notas al programa de Cinema 16 (25-26 de enero de 1955), que incluyen extractos de un texto de Georges Sadoul y de una ‘informal interview with Buñuel’ de Henry Hell; Amos Vogel Papers (Subseries I.3: Program Notes, 1947-1963, Box 8, Folder 27). 8 Carta de Luis Buñuel a Luis y Janet Alcoriza (París, 9 de mayo de 1954), en Archivo Alcoriza, Filmoteca Española, Madrid (ALC/01/02), y publicada en Brújula, Vol. 8 (2010), pp. 26-27. 9 Carta de Luis Buñuel a Jay Leyda, Nueva York, 3 de octubre de 1940, Jay and Si-Lan Chen Leyda Papers, Taminent Library, New York University (TAM.83, Box 3, Folder 7). 10 Notas al programa de Cinema 16 de marzo de 1955; Amos Vogel Papers (Box 8, Folder 27). 4 Es grato comprobar que Él se estrenó en Cinema 16 con su título original traducido (He) y no con el impuesto por Noel Meadow (This Strange Passion), el empresario americano que proyectó la película en salas comerciales a partir de diciembre de 1955. En su carta Vogel mostraba su creciente interés por proyectar L’Âge d’Or, cuya distribución había sido censurada tras su estreno en París en 1930, así como por obtener más información acerca del film sobre Goya que, en realidad, Buñuel nunca llegó a realizar.11 ¿Se encontraron Buñuel y Vogel en la ciudad de México cuando éste la visitó en junio de 1956? No tenemos constancia de dicho encuentro, pero sí de otro ocurrido en Nueva York, posiblemente hacia 1959 o 1960, que el propio Vogel describiría años más tarde al rememorar las actividades de su cine club: ‘Wonderful, unexpected things kept happening [at Cinema 16].
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