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The Incredible Shrinking Man (1957 - El Increíble Hombre Menguante), De Jack Arnold Sinopsi

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The Incredible Shrinking Man (1957 - El Increíble Hombre Menguante), De Jack Arnold Sinopsi Off the Record: 22 de gener del 2009 Cinemes Imperial Sèrie B Sessions: 20.15 h i 22.30 h The incredible shrinking man (1957 - El increíble hombre menguante), de Jack Arnold Sinopsi Després de veure's sotmès a una radiació, un home descobreix que la seva grandària es va reduint a mesura que passa el temps. LA SÈRIE B Alguns directors varen fer de la necessitat virtut i a base d’imaginació aconseguiren Fitxa tècnica El concepte de cinema de sèrie B resultats sovint molt més neix a Estats Units a partir del suggerents que els d’altres films crack de 1929, que va comportar de més pressupost. Es dóna també Director · · · · · · · · · · · Jack Arnold una important caiguda de públic el fet que en una època on el Guió · · · · · · · · · Richard Matheson a les sales; va ser aleshores quan cinema dels Estats Units estava Productora · · · · · · · · · · Universal les grans companyies van controlat per un codi moral molt reaccionar oferint dos estricte i conservador, les Productor · · · · · · Albert Zugsmith llargmetratges pel preu d’un: El pel.lícules de sèrie B no patien un Pais · · · · · · · · · · · · · · · · · · EE.UU. plat fort seria una luxosa marcatge tan ferri (pel fet de que Durada · · · · · · · · · · · · · · · 81 min. producció de classe A i el no se’ls donava gaire importància) complement, un film barat de i això permetia que algunes Fotografia · · Ellis W. Carter (B/N) classe B. Aquestes pel.lícules de tinguessin alguns elements Efectes especials · · · Clifford Stine, tipus B solien ser de gènere transgressors que difícilment R.A. Hoffman (westerns, gangsters, terror o s’haurien permès en una gran ciencia-ficció) i tenien un producció. Es podien fer coses Música · · · · · · Joseph Gershenson pressupost baix, cosa que atípiques com filmar una pel.lícula implicava, entre altres coses, un de monstres sense partir de rodatge ràpid i treballar amb actors postures clarament maniqueistes poc coneguts o velles glòries en o fer una pel.lícula sobre hores baixes. Els grans estudis alienígenes adoptant el seu punt tenien unitats especialitzades en de vista enlloc de l’humà. aquest tipus de pel.lícules, però Ultimátum a la tierra (Robert també hi havia petites companyies Wise, 1951) sembla un clar al.legat Fitxa artística que s’hi dedicaven de ple pacifista. En altres casos, però, (Monogram, Republic). Aquestes seguien les directrius marcades produccions servien també per Scott Carey · Grant WilliamsLouise pel poder establert: La invasión provar el potencial dels de los ladrones de cuerpos (Don Carey · · · · · · · · · · · · Randy Stuart realitzadors i actors que hi Siegel, 1956) funciona com a treballaven. Molt pocs van Clarice · · · · · · · · · · · · · April Kent pamflet anti-comunista. D’una aconseguir passar a la categoria manera o altra, molts films de sèrie Charlie · · · · · · · · · · Paul Langton superior i la majoria dels seus B d’aquesta època reflectien un noms ens resulten avui Dr. Thomas Silver · · · · · Raymond determinat clima de paranoia que desconeguts, però hi ha notables s’havia instal.lat a la societat nord- Bailey excepcions: l’actor John Wayne o americana després del llençament Dr. Bramson · · · William Schallert els directors Jules Dassin, Jacques de la bomba atòmica i en plena Torneur i Anthony Mann, per guerra freda. A finals dels 50, amb Nan · · · · · · · · · · · · · · Billy Curtis anomenar-ne només alguns, la caiguda del sistema d’estudis i provenien de la sèrie B. La dècada la consolidació de la televisió es dels 50 va ser un període va passar a anomenar sèrie B a especialment interessant per a qualsevol pel.lícula de baix aquest tipus de produccions. pressupost i més endavant es va convertir en sinònim de cinema diferents) reforçant així la idea FILMOGRAFIA JACK ARNOLD de baixa qualitat. De tota manera que és aquest entorn de cada dia als anys 60, dins de l’àmbit del el que pot esdevenir terrorífic cinema independent nord- només canviant la perspectiva. No 1976- The Swiss Conspiracy americà, sorgeixen personatges són els efectes especials ni els (Conspiración en Suiza) com Roger Corman, que recullen trucatges, tot i que estan molt ben 1974- Boss Niger el testimoni de la sèrie B més aconseguits per a la seva època, 1974- Black Eye creativa i interessant. allò que ens fa por, sinó la 1969- Hello Down There revel.lació de la vocació terrorífica 1964- The Lively Set dels objectes. 1964- A Global Affair D’altra banda, la pel.lícula, a partir 1961- Bachelor in Paradise LA PEL·LÍCULA d’un moment donat, funciona (Soltero en el paraíso) perfectament com una cinta 1959- The Mouse that Roared El director, Jack Arnold, ja havia d’aventures, amb una bona varietat (Un golpe de gracia) realitzat algunes incursions en el de situacions resoltes amb gràcia 1959- No Name on the bullet cinema fantàstic i de terror abans i nervi. També és en aquest punt 1958- The Space Children de filmar, el 1957, El increíble de la història, quan el protagonista 1958- Monster on the Campus hombre menguante. Tant La abandona la seva passivitat i passa 1958- High School Confidential mujer y el monstruo (Creature a l’acció, que el film esdevé una 1958- The Lady Takes from the Black Lagoon,1954) com mica una al.legoria de la lluita per (Escala en Tokyo) Tarántula (1955) ja contenien la supervivència de l’ésser humà 1957- Man in the Shadow elements que les diferenciaven i de la seva capacitat d’adaptació (Sangre en el rancho) d’altres films del mateix gènere. a nous entorns i noves situacions. 1957- The Tattered Dress Però en aquest film que ens ocupa Encara que la pel.lícula no és gens 1957- The Incredible Shrinking Arnold aconsegueix anar més pretenciosa, és evident que la Man enllà, amb un plantejament del tot història, sobretot quan es porta la (El increíble hombre inusual. D’entrada, una de les situació al límit, té un rerafons menguante) coses que fa la pel.lícula més inevitablement metafísic: l’home, 1956- Outside the Law atractiva i inquietant és el fet del sol davant del (micro) cosmos 1956- Red Sundown descobriment d’allò monstruós infinit s’interroga sobre el sentit 1955- The Man From Bitter dins de l’esfera d’allò quotidià. de la seva existència. Aquesta Bridge Això ja es troba en la novel.la de questió, encara que hi era per força 1955- Tarantula Richard Matheson, que ell mateix d’una manera latent degut a la 1955- Revenge of the Creature va adaptar per al cinema (havent pròpia naturalesa de la història, 1954- Creature From the Black de canviar una estructura a base no estava expressada d’una Lagoon de Flash back cap a una narració manera explícita en la novel.la. Sí (La mujer y el monstruo) de tipus lineal). Però el director que hi és al final de la pel.lícula, 1953- The Glass Web sap emfatisar molt bé aquest per una imposició de la productora (Ensayo dramático) aspecte utilitzant eines i que, segons Arnold, va acceptar 1953- It came From Outer Space estrictament cinematogràfiques. com a mal menor ja que la 1952- Girls in the Night Per exemple, al principi del film proposta inicial dels productors 1950- With these Hands s’entretén a mostrar-nos tots els era fer que el protagonista elements i escenaris quotidians, recuperés la seva talla normal per que més endavant esdevindran a un final feliç. L’al.lusió de caire monstruosos degut al canvi de religiós que conté va fer protestar perspectiva, en un moment en què Matheson enèrgicament. De tota nosaltres no podem sospitar quin manera, la pel.lícula no queda paper acabaran jugant. La subtilitat tampoc mal acabada d’aquesta amb què ens mostra els primers manera, amb un toc entre metafísic símptomes de transformació i poètic. (reducció) del protagonista fan la situació especialment angoixant, Cèsar Giravent precisament per la seva senzillesa i quotidianitat. També és encertada l’opció de no veure mai minvar el personatge, sinó que l’anem veient actuar en escenaris cada cop més grans respecte la seva mida (en van haver de fer fins a catorze de Es demana puntualitat. Es demana als espectadors que desconnectin els telèfons mòbils i qualsevol altre aparell acústic abans de començar la projecció. Gràcies. la projecció. de començar acústic abans aparell altre mòbils i qualsevol telèfons Es demana puntualitat. els Es demana als espectadors que desconnectin.
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