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Vertigo. Revista De Cine (Ateneo Da Coruña) Vertigo. Revista de cine (Ateneo da Coruña) Título: Darkman: el monstruo hecho jirones Autor/es: Moreno Cantero, Ramón Citar como: Moreno Cantero, R. (1993). Darkman: el monstruo hecho jirones. Vértigo. Revista de cine. (7):44-50. Documento descargado de: http://hdl.handle.net/10251/42975 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: RAMON MORENO CANTERO l.· TEORIA DEL REMAKE: EL 'TEXTO AGUJERO NEGRO" El análisis fílmico que se propone aquí parte de dos consideraciones previas y necesarias: una, que DARKMAN (1990, Sam Raimi) es una obra lo suficientemente poderosa como para reclamar una parce1a de experiencia estética que, como todas, debe ser desmenuzada; su apariencia trivial - derivada para muchos de ser una historia típica con científico-héroe desfi­ gurado en una narración de aventuras escapista- no es más que una envoltura a soslayar por una profundización exigente (1). La otra considera­ ción es más trascendente: dicho análisis se va a supeditar unicamente al texto, desterrando del mismo al autor, a Sam Raimi, ya que nos enfrentamos a una obra tan acrecentada en su fuerza visual que expulsa a su propio creador. Tan sólo gobierna la atracción imagen textual-mirada (alucinada en este caso) del espectador, en un nivel que, repetimos, excluye la paternidad creativa: las razones de tal destierro motivan el artículo que se presenta. Ciertamente con esta postura no proponemos nada nuevo, pero es necesario señalarla para permitir la absoluta operatividad del ejercicio que ya pone­ mos en marcha. (1) JORDI COSTA sí ha considerado la película como interesante, llegando a afirmar que se trata de "arte postmoderno"; sin a trevernos a asumir tal categorización, comparti­ mos Ja admiración que trasluce su comenta r io: "Darkman. Un héroe con Jos nervios rotos" en Diri­ gido (n.• 185, noviembre 1990, págs. 26-29). (2) Asumimos la noción de intertextuabdadde6.nidapor SANTOSZUNZUNEGUlen PensarJa imagen (Madrid. Cátedra/Universidad del País Vasco, 1989, p. 92). DARKMAN (1990) (3)Eseltratamiento (loque provoca la mirada) y no el Coherentemente con lo expuesto, las detenernos (4>, pero que reconoce -como su tema lo que determina la inclusión o exclusión del líneas que el texto marque deben ser segui­ nombre indica-aquellos textos que imbrican terreno fantástico: por das por el analista sin discusión; pues bien, coordenadas genéricas diferenciadas y tanto no creemos ya útil reconocibles en su estandarización: este ca­ discriminar e n tre muchas obras nacen -y sólo es posible expli­ subgéneros (ciencia-ficción, carlas- desde el sincretismo estético, narra­ mino ha sido recorrido especialmente por el terror); tan sólo es perti­ tivo y genérico: no se trata de remakes es­ cine fantástico anglosajón durante toda la nente aceptar un gran gé­ nero, el fantástico: a él nos trictos, sino de agujeros negros que atraen década de los años ochenta <G>_ Sin embargo, referiremos, y no al "terror", gran variedad de elementos (ninguno de la transformación sufrida por el fantástico donde -según la ortodoxia­ ha brí a que situar ellos original en sí) recogidos de diversos tradicionalmente entendido no acaba aquí; DARKMAN. terrenos para crear un ámbito intertextual se considera la historia del género como un 2 < > a cuya altura debe colocarse el análisis. repertorio a disposición del autor con el cual (4) La teoría del intergénero se encuentra elaborada -y DARKMAN es uno de esos intertextos, casi concebir una criatura hech a de trozos aplicada al fantástico de la un auténtico "texto-agujero negro", ya que reconocibles, reasumidos o superpuestos sin década anterior- por RA­ MON MORENO CANTE­ comparte coordenadas fílmicas y extra­ más, pero vampirizados hasta el punto de RO en Cine fantástico en fümicas, condensables éstas últimas en un construir un auténtico metagénero: un nuevo los 80: crisis y resurgir espacio aún indefinido -pero generalmente de un género. (Tesis de ritmo narrativo propio del video-clip y en Licenciatura. Universidad una concepción visual (cromát ica sobre todo) desdeñado- donde mitos e iconografías re­ de Murcia. Inédita). y conceptual extraída del cómic fantástico en sucitan tomando formas inéditas. Por tanto, (5) Imposible citar todos los su vertiente de superhéroes: de hecho, esa la tdnsformación ha tenido tres fases: del casos de con taminación fusión corporiza el relato. Sin embargo, este género al metagénero, pasando por el genérica con el fantástico: la comedia con BRAZIL es un trabajo sobre el remake cinematográ­ intergénero. (1948, Terry Gilliam ) o fico, y debemos centrarnos en la relación que DARKMAN es uno de esos "remakes BITELCHUS (Beetlejuice, metagenéricos"; pero no sólo el film en sí sino 1988, Tim Burton), el DARKMAN mantiene con su propio género, 3 western con la serie de Mad el fantástico < >. el personaje, sobre el cual recaerá nuestra Max <1979-1985, George disección para desentrañar, desde su com po­ Miller) o ATMOSFERA Conviene definir -someramente al CERO <Outland, 1981, menos- qué noción de género manejaremos: sición iconográfica, su posible ontología; Peler Hyams), el negro con sin pretender resucitar viejas teorías que buscamos los girones que forman el mons­ BLADE RUNNER (1982, Ridley Scottl y TERCIO­ simplificaban la génesis fílmica a un reparto truo, revividos gracias a una alquimia cuyo PELO AZUL (Blue Velvet, temático y estilístico entre varios géneros fluido -insistimos- es todo el género fantásti­ 1986, David Lynch) ... la co. Como vemos, es imposible manejar una lista se haría interminable, estancos previamente acuñados, es cierto especialmente en el apar ­ que la cuestión tendría que ser replanteada obra así sin abrir el objetivo analítico, dejan­ tado de la comedia. En do pasar todo el caudal intertextual que las DARKMAN la historia es después del proceso de ósmosis sufrido por el generada por la corrupción sistema los últimos treinta años, y que nos imágenes (únicas guías verdaderas) recla­ inmobiliaria de un grupo lleva a acuñar una nueva categoría teórica, man. Rastreémos pues el pasado de este de especuladores y trafi­ cantes. la del intergénero, sobre la cual no podemos híbrido que es DARKMAN, el personaje... 2.-LACONEXIONCONLAMASCARA Y LA OSCURIDAD El Dr. Peyton Westlake(LiamNeeson) se oculta tras un amasijo de vendas, un largo abrigo negro y un sombrero de igual color: esa conjunción de signos se ha autonombrado como Darkman. Conocemos la historia que explica su deformación física y que justifica la degradación moral y social a la que se ve abocado. pero ¿es eso todo?. ¿Qué hay en realidad debajo de lo que está velado?; sin duda dolor, pero tan sólo accedemos a él en tres brevísimos internamientos cerebrales sobre los que nos detendremos después: lo que importa no es lo oculto, sino la pantalla veladora, compuesta por dos significantes que adquieren imprevista relevancia: la máscara y la oscuridad. Ambos elementos (The Invisible son sobredimensionados hasta adquirir en­ Man, 1933) tidad suplantadora; Peyton no existe, existe de James Whale Darkman, es decir, ese remedo de identidad suturada por la oscuridad que da nombre al resultado de la operación desencadenada ("dark man") y los vendajes-máscara que ocultan, pero que protagonizan; ellos deben centrar nuestra reflexión retrospectiva, ya que componen los mismos créditos de aper­ tura, trazando el camino a seguir: sobre una pantalla negra, rota por humo polícromo (desdoblado simetricamente, con lo cual se adelanta otro tema propio del fantástico, la doble personalidad), surge fantasmal el rostro vendado de Darkman, distorsionado y torturado de dolor. Una arriesgada cirugía en la cual los implantes cobran vida.. unos implantes ya Cartel Publicitario mencionados que se extraen de tres films de EL ABOMINA­ que además aportan -consecuentemente- la BLE DR. PHIBES iconografía adoptada por el protagonista. Y (The Abominable Dr. Phibes, 1971) en este caso, la iconografia no precisa ser tiüGH GRIFFITH ,.,TERRY-THOMAS vi1i81N1A N?.R.!~ deRobert Fuest ·~JAMHWHll0N end WIUIAM COl.0$1 BN -•:lQUl!M HfYWAAOortdRONAlO S OUN...S. interpretada: Darkman es una pura fusión '.:::.':. SAN.UH l ~.RJ!C~l~:I JAM!S H. t«HOLSON •r.=.-:"'aASfU(IR.CMIN • ,_ .. R.09tl.1 fVE~! de signos icónicos con sus significados aña­ didos; vendas, abrigo y sombrero son exacta­ (literalmente en el caso del film dirigido por mente eso, máscara que tapa y atuendo que Whale) que cubren ese vacío -de¿sentido- con convierte en sombra la figura. En gran me­ máscaras en los casos de Erik el fantasma y dida, la iconografía se ha hecho dueña del de Phibes, y con un vendaje en el del Dr. relato. Griffin, prestado a nuestro Dr. Westlake. Como decimos, tres obras precedentes Las tres criaturas buscan el ansiado inciden desde diferentes posiciones sobre el rostro-identidad inflando notablemente su rostro fragmentado que reclama una susti­ "yo" hasta lo megalomaníaco; tratan pues de tución, algo que Darkman buscará con des­ suplir esa carencia por la vía hipertrófica: a esperación: restituir su apariencia, su piel Peyton le ocurre lo mismo que a sus antepa­ natural por otra sintética, como primer e sados genéricos, concentrará la suplanta­ imprescindible paso que devuelva el sujeto ción en un objetivo descabellado y marginal, (6)Aunque la reflexión más destruido. Nos referimos a EL FANTASMA el de la venganza (extrayendo del eficaz Dr. delirante, y lúcida, sobre el DE LA OPERA (The Phantom of the Opera, Phibes un refinado sentido de la crueldad) tema es Los ojos sin ros· 1925, RupertJulian), EL HOMBRE INVISI­ que completará la transformación de Peyton tro (Les yeux sans visage, 1960, Georges Franju), está BLE (The Invisible Man, 1933, James Whale) en Darkman.
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