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Vertigo. Revista De Cine (Ateneo Da Coruña) Vertigo. Revista de cine (Ateneo da Coruña) Título: Mr. Capra va a la guerra. (Notas sobre la serie documental "Why We Fight") Autor/es: Pelaez Paz, Andrés Citar como: Pelaez Paz, A. (1992). Mr. Capra va a la guerra. (Notas sobre la serie documental "Why We Fight"). Vértigo. Revista de cine. (5):44-50. Documento descargado de: http://hdl.handle.net/10251/42958 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: M R. C {lNJ©U~$ S©IS51RHE l~ ~lE~íl~ ~©tlUJ · Cartel italiano de E. Brini para el film Divide and Conquer (1943) tercero de la ...............l.m.a.~~ ...... ...a..J~ serieWhy we Figth ANDRES PELAEZ PAZ "La primera víctima de una g uerra es la verdad" Rudyard Kipling. CAPRA Y LA SEGUNDA GUERRA MUNDIAL Como muchos otros trabajadores de la industria de Hollywood, Frank Capra puso su talento y convicciones al servicio de su país una vez que éste decidió entrar en el conflicto bélico. Después del inesperado y "traidor" bombardeo japonés de PearlHarbour, Capra fue llamado a filas y asignado al denominado Army Signal Corps. En ese momento, Capra estaba terminando de rodar ARSENICO POR COMPASION y solicitó un permiso de seis semanas para poder finalizarlo, incorporándose definitivamente al ejército el catorce de febrero de 1942. Inmediatamente después de llegar a afirmó que él tampoco había sido jefe de Washington, Ca pra fue destinado al denomi­ Estado Mayor nunca, ni tantos jóvenes ha­ nado Morale Branch -más tarde cambió su bían sido soldados antes. Capra, en cierto nombre por el de Special Services-, orga­ modo herido y convencido por las palabras nismo militar creado en marzo de 1941 y del General, añadió: "Lo siento, señor. Haré encargado de elevar la moral de las tropas los mejores malditos documentales que se norteamericanas. El responsable de este hayan hecho jamás". (2) destino (que Capra no aceptaba con gusto), Poco tiempo después Capra tuvo oca­ fue el general George C. Marshall, máxima sión de ver EL TRIUNFO DE LA VOLUN­ autoridad del ejército, que tenía el firme TAD (Leni Riefenstahl, 1935), crónica de la propósito de combatir el sentimiento Convención que el Partido Nazi celebró en aislacionista que reinaba en la sociedad nor­ Nüremberg en 1934, celebrado por un per­ teamericana. Para ello, en un primer mo­ fecto montaje de inspiración soviética que mento, propuso la creación de un programa confiere a las imágenes una fuerza de atrac­ de orientación que explicara las razones por ción hechizante. Capra no fue ajeno a ese las que América se había involucrado en la hechizo de los símbolos y las grandes masas guerra. Este programa estaba basado en la y se le bcurrió que podría utilizar los films de preparación de una serie de textos que eran propaganda enemigos como material visual ofrecidos, para su lectura, a los soldados: fue para la serie que él tenía que hacer, lo que se un fracaso. Así que Marshall pensó en el convertiría en una de las "marcas de fábri­ cine.(1) ca" de sus documentales de propaganda, a Cuando Frank Capra conoció al Gene­ la par que adquirió plena consciencia del ral Marshall, éste le comentó que, a pesar del enorme poder terrorífico de la amenaza nazi. poder nazi, los soldados norteamericanos De esta manera, poco después, el dos podrían luchar con valentía si, previamente, de mayo de 1942, Capra fue nombrado Co­ eran convencidos de que iban a luchar por mandante del 834th Signal Service algo por lo que valía la pena morir. Capra, Photograph Detachament, siendo res­ poco atraído por la idea de tener que hacer ponsable ante el Brigadier General Osborn, documentales, protestó por haber sido elegi­ jefe de Special Services, antes conocida do para hacer algo que él nunca había hecho como Morale Branch. anteriormente. El General Marshall, como La unidad de Capra se trasladó a en las mejores réplicas hollywoodienses, unos estudios de la Twent ieth-Century que fueron cedidos por Darryl Zanuck. Allí fue (1942), único dirigido en solitario por Capra; (1 )En cierto sentido, no deja de ser curiosa coincidencia donde se realizó la mayor parte de la serie THE NAZIS STRIKE (1943), co-dirigido con que John Grierson, pionero WHY WE FIGHT. Anatole Litvak; DMDE AND CONQUER documentalista, escribiese en Documentary News La unidad de Capra llegó a estar for­ (1943), co-dirigido con Anatole Litvak; THE Letters, en marzo de 1942, mada por cuarenta y tres personas: más o BATTLE OF BRITAIN (1943), dirigido por lo siguiente: "Co11 la pro· menos la mitad eran civiles y el resto eran Anthony Veiller, habitual guionista de la pagando podemos darle al ciudadano un dominio de profesionales de Hollywood (escritores, di­ serie; THE BATTLE OF RUSSIA (1943), co­ la imaginación que hasta el rectores y montadores) que se habían alis­ dirigido por Litvak, Veiller y Robert Heller; presente, ha faltado en nuestro modo de apre11di· tado. La unidad se dividió en tres grupos de THEBATTLEOFCHINA(1944),co-dirigido, zaje democrático; podemos trabajo: uno se encargaba de la traducción de nuevo, por Capra y Litvak; WAR COMES co11seguirlo por medio de la radio, el~ media doce· de los noticiarios japoneses y alemanes TO AMERICA (1945), último de la serie, na más de medios de comu· conseguidos, otro catalogaba y archivaba los dirigido en solitario por Litvak. 11icación". (Cit. en VIRILIO, contenidos y fuentes de las tomas y, final­ Además, la unidad de Capra estuvo PAUL: La máquina de visión, Madr id, Cátedra, mente, el tercer grupo trabajaba en la in­ relacionada con la producción de otros films: 1989, p. 71). vestigación, documentación y en los guiones. de la serie KNOW YOUR ALLY, el docu­ (2) Los datos históricos que La serie atrajo a numerosos talentos mental BRITAIN (1943), dirigido por expongo en esta y otras hollywoodienses que se vieron involucrados, Anthony Veiller; de la serie KNOW YOUR partes del artículo han sido u extraídos de MALAND, de una manera otra, en la realización de ENEMY, los documentales GERMANY CHARLE S J.: F rank las películas: Anatole Litvak, John Huston, (1945), dirigido por Gottfried Reinhardt y Capra, Boston , Twayne Walter Huston, Stuart H eisler, George Ernst Lubitsch, y JAPAN (1945), dirigido Publishers, 1980, pp. 117- 129. E ste libro dedica un Stevens, William Wyler, Dana Andrews, por Capra y Joris Ivens; el film de tem a capítulo a la exper iencia Robert Flaherty, Dimitri Tiomkin, Ben racial, dirigido por Stuart Heisler, THE bélica de Capra titulado: "Capra y la Segunda Hecht, Alfred Newman, Ernst Lubitsch, NEGRO SOLDIER IN WORLD W AR II Guerra Mundial 1941- Robert Stevenson, etc. (1944), y un noticiario paira los soldados 1945". Un artícu lo re- Capra era el responsable ante sus llama do ARMY-NAVY SCREEN ciente ofrece más detalles superiores y desarrollaba labores de pro­ MAGAZINE. sobre el papel que el cine ductor, guionista, director y supervisor, En septiembre de 1943, el 834th pasó desempeñó en Ja cau sa bé­ lica , haciendo espe cial siendo los documentales resultantes más el a formar parte del Signa! Corps Army hincapié en los documen­ producto de un equipo (similar en cierto Pictorial Service (APS) y Capra fue asig­ tales de propaganda en los que particip ó Capr a: sentido a la fabricación en serie de los estu­ nado al Public Relation Staffy dirigió una TOR RE IRO, M IRITO: dios en donde todos ellos trabajaban), que el Special Coverage Section, uno de cuyos "Hollywood en gueITa. Propaganda y esfuerzo resultado de un solo hombre (sometido, por proyectos resultantes fue el film anglo­ bélico e n la Segunda otro lado, a la censura de los capitostes del americano TUNISIAN VICTORY (1944) di­ G u erra Mundia l", en ejército). rigido por Hugh Stewart. Nosferatu, n.• 7, Octubre 1991, pp. 22-31 La serie WHY WE FIGHT se compone Los últimos proyectos en los que Capra de siete documentales realizados entre 1942 participó fueron: un breve documental na­ y 1945, de duraciones variables que oscila n rrado por Dana Andrews, YOUR JOB IN entre los cuarenta y dos y los ochenta minutos, GERMANY (1945) y, finalmente, TWO y que llevan por título: PRELUDE TO W AR DOWN AND ONE TO GO!, rodado durante (3) Si se desea más infor­ el verano de 1944 y estrenado el diez de mayo mación (fichas técnicas, esa fe en el destino providencial de la duración, contenidos,. .. ) se de 1945. nación que conduce a sus héroes en peregri­ puede consultar, en caste­ La defensa del patriotismo, la libertad nación a los monumentos de los padres fun­ llano, CIEUTAT, MICHEL: Frank Capra, Barcelona, y la democracia que Capra propone en todos dadores en Washington. (4) Cinema Club Collection, estos documentales, fue recompensada do­ 1990, pp. 204-217. blemente: el ejército le dió una medalla y la Al fin y al cabo, no hay que olvidar que (4) HENRY, MICHEL: "voz Academia un Osear por PRELUDE TO WAR, el propósito definitivo de estos films no era Capra, Frank", en Diccio­ en 1942. (3) otro que el de convencer a una sociedad que nario del cine, Madrid, Rialp, 1991, p. 119. A este preconizaba el aislacionismo, de que era respecto, el primer episodio REALIDAD, DOCUMENTAL, FICCION imprescindible luchar para no perder los de la serie PRELUDE TO WAR, no duda en hacer un privilegios democráticos, y Capra era ple­ canto a la idea de la demo­ Aunque la elección de Frank Capra namente consciente de que eso se podía cracia trayendo a colación para la realización de unos documentales de los nombres de Washing­ hacer con una película de ficción o con un ton, Jefferson, La Fayette, propaganda bélica sorprendió incluso al ele­ documental de guerra.
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