El Pastiche Es El Mensaje

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El Pastiche Es El Mensaje Los Cuadernos de la Actualidad do gracias a la presencia del exube­ culturas, la amistad entre hom­ EL PASTICHE rante Roberto Benigni, es plena­ bres... ) e incluso europea (un cierto mente consciente de su condición existencialismo humanista, la inco­ ES EL de objet d'art. municación y, en definitiva, la so­ Pero, lhasta qué punto el filmde ledad humana en un nivel casi me­ MENSAJE Coen se contenta con ser una gi­ tafísico, pues no es otro el sentido gantesca broma, un cómic deliran­ del plano final de la película, en el te únicamente al servicio de la risa que Tom Waits y John Lurie se y la diversión? Frente al contrasta­ alejan por caminos distintos des­ Jim Jarmusch, Bajo el peso de la ley. do blanco y negro de Robby Müller pués de haber logrado escapar jun­ Joel Coen, Arizona Baby. (el fotógrafo habitual de Wenders), tos), su estrategia no se basa en un en Bajo el peso de la ley, los Coen registro totalmente autónomo, si­ ofrecen colores vivos, casi chillo­ no que, aún erigiéndose al fin en arece que no puedan nes, en la línea de ciertas películas un discurso personalísimo, recurre existir, en apariencia, dos de los años 60, de Russ Meyer a sin pudor durante todo su desarro­ películas más distintas Frank Tashlin, pasando por el llo a la mezcla de códigos, a la al­ que Bajo el peso de la ley mismísimo Jerry Lewis. El expre­ ternancia de géneros. Los elemen­ P (Down by law, 1986), de sionismo hiperrealista de Jermusch tos y personajes típicos del thriller Jim Jarmusch, y Arizona Baby contra el pop reciclado de Coen. Y clásico (el submundo urbano, el (Raising Arizona, 1987), de Joel el plano fijo y contemplativo con­ macarra, el loser sin remisión ... ) e Coen. La primera es un calculado y tra el encuadre inverosímil, la pro­ incluso de las películas carcelarias, a la vez desenvuelto ejercicio de fundidad de campo alucinada, el conviviendo con los de la comedia contención narrativa, ascéticamen­ travelling vertiginoso, la planifica­ más hilarante (el equívoco linguís­ te filmado en blanco y negro, y ción dislocada. Arizona Baby tam­ tico, el turista despistado... ), todo avalado por un americano que ad­ bién tiene, pues, vocación estética, ello bajo la apariencia de una pelí­ mira a Ozu y además es discípulo aunque su fuentede inspiración no cula de autor. Y no es muy distinto de Wim W enders. La segunda es la sea Antonioni o el cine japonés, si­ el método de Arizona Baby, donde obra de dos hermanos (Joel dirige no los enloquecidos cartoons de la la intriga policíaca más o menos y escribe, Ethan escribe y produce) Warner y las historietas de Corre­ deformada (el secuestro de un be­ fascinados por el cine clásico nor­ caminos. bé) incluye tópicos extraídos de teamericano y autores de una ópera mil y una fuentes, desde el atraco a prima, Sangre fácil (Blood simple, un banco por parte de una pareja 1985), que era algo así como un de delincuentes tan torpes como ri­ thriller exagerado, llevado hasta sus sibles, hasta el enfrentamiento fi­ últimas consecuencias. nal entre el protagonista (Nicolas Pero vayamos por partes, porque Cage, cada vez mejor) y un cazarre­ la primera diferencia entre ambas compensas brutal y casi madmaxia­ películas radica en su lenguaje. Ba­ no, sin olvidar magnates zafios pe­ jo el peso de la ley se despliega en ro de buen corazón y alocadas per­ planos largos y estáticos que for­ secuciones en coche. Y todo este man secuencias separadas por elip­ amasijo de personajes y situaciones sis bruscas, cortantes. Arizona Ba­ al servicio, no de la configuración by, por el contrario, lo muestra to­ de un todo unitario, como ocurre do y a lo grande: la narración es rá­ en la película de Jarmusch, sino de pida y entrecortada, sin duda para la estética de la acumulación paró­ ofrecer al apabullado espectador el dica, del desorden iconográfico mayor número de hechos en el me­ más desatado. nor tiempo posible. Como conse­ cuencia, la estrategia dramática de La cosa, de todas formas, queda Jarmusch se centra en la observa­ clara. Tanto Jarmusch como Coen, ción de los personajes y sus rela­ aunque sea por caminos bien dis­ ciones, olvidándose casi por com­ tintos, recurren a la misma técnica pleto de los meandros de la peripe­ inspiradora: su material de base cia policíaca (bajos fondos, deten­ siempre transfigurado por la inte­ ciones, cárceles, fugas, persecucio­ Jim Jarmusch. racción de diversos géneros o tópi­ nes ... ) que constituye el armazón cos de la cultura de la imagen for­ del film. Y Coen, por su parte, des­ Y es aquí donde terminan las di­ jados durante décadas de uso coti­ poja la acción de todo aderezo jus­ ferencias y empiezan, inesperada­ diano, de manera que, tanto como tificatorio,de modo que lo que im­ mente, los parecidos, las identifica­ su originalidad de creadores, pesa porta, lo que da sentido y estilo al ciones. Aunque los temas conteni­ en sus películas su afición al pasti­ film, es la suma indiscriminada de dos en Bajo el peso de la ley -muy che, al cóctel más o menos defini­ situaciones y no su disección. Ari­ cercanos a los del anterior trabajo do, ya sea optando por la parodia y zona Baby (como las películas de de Jarmusch, la no menos esplén­ el distanciamiento irónico, ya por Sam Raimi: y, si no véase, cuando dida Extraños en el paraíso (Stran­ la utilización más renovadora del se estrene por estos pagos, la cínica ger than paradise, 1984)- estén género o géneros. Podría empezar Evil Dead II) encierra en sí misma fuertemente enraizados en la tradi­ a pensarse, pues, que, por los sen­ su propia parodia; Bajo el peso de la c10n cultural norteamericana (el deros de la estilización, cierta ten­ ley, aunque divertidísima, sobre to- mito del perdedor, el choque de dencia del cine norteamericano ac- ·175 Los Cuadernos de la Actualidad A los primeros pertenecen por mo en imágenes; cuando Botas ejemplo Juan Luis Panero y Víctor acomete un poema histórico no Botas. A los segundos Eloy Sánchez aburre pues sabe actualizar la anéc­ Rosillo y García Martín. Los terceros dota recreada con habilísimos son legión así que el buen lector quiebros tanto intermedios como ponga a quien mejor le cuadre. finales y con una jugosísima ironía. Víctor Botas, que es de quien se «Teseo» es otro poema histórico va a hablar aquí, ha ido publicando donde el tema está tratado de tal en silencio sus ya cuatro libros de manera que consigue desmitificar poemas. Nada se sabe de este per­ un material ya de por sí serio y se­ sonaje, tan sólo que vive en Oviedo sudo como es el de la mitología. Se y que su obra ha ido creciendo en trata de un poema muy bien termi­ nado que demuestra un pormeno­ Arizona Baby. importancia y calidad con los años. En un principio la crítica pensó rizado conocimiento del olimpo romano. El poema «Padre Apolo» tual -y no sólo la de apariencia que se trataba de uno más de los más popular (el ya citado Raimi el heterónimos utilizados por García nos ilustra con creces esta maner� ' Martín en su revista -hermosa e de hacer; Botas se toma la mitolo­ inesperado descubrimiento de gía a risa, encontramos los mitos Fred Dekker en Night of the creeps, irrepetible- Jugar con Fuego pero lo cierto es que Botas escritor exis­ -siempre tan bien tratados- por el inspiradísimo Johnathan Dem­ los suelos. Nos topamos con la me de Something wild... ), sino tam­ te como tal y doy fe de que se trata de un personaje original y curioso, «desmitificación» de los santones bién otra más, digamos, «refinada» oficiales del Olimpo. En ésto con­ (el último Jarmusch, el Alan Ru­ tanto como su obra. Historia Antigua es una obra siste la originalidad de estos poe­ dolph de Elígeme e Jnquietudes... )­ mas; los dioses son tratados como se está empezando a plantear, por densa en poemas, muy trabajada y vía práctica, cuestiones relativas al en la misma línea irónico-coloquial vulgares imbéciles. funcionamiento de la diégesis y el de sus obras anteriores. Temática­ Otra de las constantes de esta mente nada cambia tampoco: poesía son los giros, guiños anticli­ relato cinematográficos, algo que máticos al final de los poemas. Es­ antes permanecía reservado sólo abunda el poema histórico pero para teóricos. Y si no, al tiempo. con sello propio que más tarde ex­ ta técnica actúa a modo de elemen­ plicaremos, la realidad cotidiana to distanciador para romper el tono serio del poema conectando su te­ Carlos Losilla (realidad social, política, religiosa) a la que sabe sacar punta de magis­ mática con otra que nada tiene que tral manera, el paso del tiempo la ver con la que venía tratando. Se familia, etc. ' trata de un recurso inesperado que Voy a subrayar algunos de los sorprende al lector por el cambio rasgos más sobresalientes de estos que introduce: Botas trae la histo­ poemas que a su vez podrían ser ria a su terreno (y ésto conecta con DE HISTORIA válidos para su obra anterior. la característica anterior), la utiliza a su gusto y manera, ironiza sobre ANTIGUA Uno de los recursos más socorri­ ella y al final«pasa de ella». «En el dos de Botas es el papel que conce­ foro Romano» es un hermoso poe­ de a las acotaciones: guiones, pa­ ma que puede ilustrar lo que aca­ réntesis e interrogaciones que inte­ bamos de apuntar. El eje del poe­ rrumpen el ritmo natural del poe­ ma reside en la riqueza verbal, en Víctor Botas, Historia Antigua.
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