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THE SIGNAL TOWER Distribuidora: Alpha Video / Alpha Home En- Tertainment, «Silent Classics Collection» Zona: 0 Contenido: Un D THE SIGNAL TOWER la enorme generosidad del historiador, de la que Distribuidora: Alpha Video / Alpha Home En- tenemos constancia personal, no nos extraña en tertainment, «Silent Classics Collection» absoluto que esto haya ocurrido. Es decir, que Zona: 0 prestara su máster positivo de The Signal Tower Contenido: un disco y alguien lo copiara, pasando a ser comerciali- Formato de imagen: 1.33:1 zado después por la mencionada distribuidora, Audio: acompañamiento musical orquestal consagrada al lanzamiento de films de bajo pre- Intertítulos: inglés supuesto y de terror. Precio: 5,98 $ No obstante, vayamos por partes. The Signal DOI: https://doi.org/10.15366/secuencias2017.45 Tower fue una película perdida durante décadas —hasta 1987—. En ese año, David W. Packard, presidente de Stanford Theatre Foundation (Palo Alto, California), adquirió unos dos mil títulos si- lentes de la John Hampton Collection, entre los que aparecieron copias en 16 mm sobre soporte de acetato de las cuatro últimas películas (de un total de cinco) de Clarence Brown en Universal: The Signal Tower (dos ejemplares), Butterfly (1924) —hasta entonces también desaparecida—, Smouldering Fires (1925) y The Goose Woman (1925). Conviene apuntar que los negativos ori- ginales en 35 mm de estos films no se conservan, dado que Universal destruyó deliberadamente casi toda su biblioteca silente en diversas fases que comenzaron en 1948 y continuaron en 1956 Se comercializa por primera vez un título inédito, y 1961. Por ello, han llegado hasta nosotros a tra- una auténtica rareza desconocidísima de la his- vés de copias reducidas en 16 mm generadas por toria del cine, hasta la fecha del todo inaccesible: la Show-at-Home Movie Library, Inc., el servicio The Signal Tower (1924), en España llamada La de alquiler de películas para uso doméstico que caseta de señales, la segunda película que el di- el estudio puso en funcionamiento entre 1927 y rector Clarence Brown realizó en Universal, an- 1936, gracias al cual han sobrevivido numero- tes de iniciar su exitosa y prestigiosa carrera con sos films silentes de la compañía. Propiedad de Joseph M. Schenck y en Metro-Goldwyn-Mayer, Universal Studios, Inc., Packard depositó los donde dirigió a estrellas de la talla de Rudolph materiales en la Motion Picture Colleccion del Valentino, Greta Garbo y Joan Crawford, entre Film and Television Archive, perteneciente a la muchas otras. Universidad de California, Los Angeles (UCLA), Ahora bien, las circunstancias en que sale a la donde hoy se conservan. luz esta edición de DVD, a cargo de Alpha Video Los dos ejemplares de The Signal Tower de la (julio de 2015), no solo son bastante lamentables, UCLA consistían, por un lado, en dos bobinas sino que, en opinión de Kevin Brownlow, con tintadas con una longitud de dos mil cuatrocien- quien hemos contrastado la información, esta tos pies (setenta y ocho minutos a 24 fps.); por es una versión pirata en toda regla, copiada por otro, dos rollos en blanco y negro, con un acusado alguien desde su colección particular (correspon- deterioro y un metraje de dos mil cincuenta pies. dencia personal con el autor, 18/07/2016). Dada Paralelamente, desde 1959, Kevin Brownlow co- 160 SECUENCIAS - 45 / Primer semestre de 2017 nocía la existencia de The Signal Tower en manos información que figura en la parte posterior de de un coleccionista privado británico. No obstan- la carcasa del DVD es incorrecta. Los personajes te, no pudo visionarlo hasta 1984 y no logró que principales no se apellidan Tolliver, sino Taylor, y obrara en su poder hasta 1992. Se trataba de un la sinopsis que se incluye es pura invención. duplicado en 16 mm, generado también por la Aunque el largometraje se estrenó en 1924, se Show-at-Home Movie Library desde el negativo rodó a finales de 1923, y Brown lo filmó casi ente- original de nitrato de 35 mm (sin la utilización de ramente en exteriores, en el mismo lugar donde ningún internegativo), que contaba con una exce- se desarrolla la historia, en la línea de ferroca- lente calidad de imagen, se hallaba provisto de una rril occidental de California, área de Fort Bragg, rica paleta cromática, compuesta por ámbar, azul condado de Mendocino, a unos doscientos se- y rosa, y comprendía ochenta minutos a 24 fps. tenta y cinco km al norte de San Francisco. Por Durante el transcurso de mi tesis doctoral sobre ello, y también por su atmósfera tranquila, tono Clarence Brown, solicité a Universal Studios y a intimista y familiar, The Signal Tower anticipa la UCLA el visionado de The Signal Tower y, de las posteriores creaciones del cineasta en MGM forma completamente gratuita, se me prestó una consagradas al género americana, realizadas en copia con fines exclusivos de investigación que su mayor parte, por decisión de Brown, en locali- se correspondía con la mejor versión de las dos zaciones naturales: Ayer como hoy (Ah, Wilder- almacenadas, la que alberga los tintes de color, ness!, 1935), Of Human Hearts (1938), The Hu- si bien estos se reducen al azul para las escenas man Comedy (1943), National Velvet (1944), El de noche. despertar (The Yearling, 1946) e Intruder in the Más tarde, adquirí una versión (alegal) del film Dust (1949). Sin embargo, a diferencia de algunas en la web. Estaba tintada en ámbar, azul y rosa, de estas, The Signal Tower es muy modesta. El poseía significativos planos de imagen que no fi- estudio la distribuyó como una Universal Super- guraban en la copia de la UCLA, su calidad era Jewel Production, pero los presupuestos que la muy superior y abarcaba ochenta minutos. Tras firma confería a sus Jewel e incluso a sus Super- cotejarla con Kevin Brownlow, resultó ser la suya Jewel —sus vehículos más prestigiosos durante la propia. Se produjo entonces, sin lugar a dudas, la era silente— en realidad eran ínfimos. reproducción del positivo de 16 mm de su colec- Emplazados en una apartada región montañosa ción particular, en torno a 2008. de ferrocarril de California, el guardavía David La actual edición de DVD de The Signal Tower Taylor (Rockliffe Fellowes), su mujer Sally (Virgi- comercializada por Alpha Video se deriva de esta nia Valli) y su hijo Sonny (Frankie Darro) se ven última. Sin embargo, su calidad es harto precaria. envueltos en graves problemas cuando deciden Se han dejado a un lado todos los tintes de color alquilar una de las habitaciones de su casa a un ex- y se le ha aplicado una tonalidad uniforme en se- traño, el nuevo guardagujas Joe Standish (Wallace pia. La imagen es increíblemente oscura y carece Beery). La acción se desarrolla en tres únicos esce- por completo de nitidez. En ocasiones, oscila y narios: la casa de los Taylor (único set que se alzó temblequea verticalmente. El acompañamiento en Universal City), los exteriores de las vías férreas musical es totalmente inadecuado, sobre todo al del bosque y la torre de señales de Noyo, donde principio, donde chirriantes y acelerados violines trabaja David. La película se caracteriza también contrastan de forma brusca con las poéticas y por la presencia de muy pocos personajes. Apar- sosegadas imágenes de naturaleza de Brown, en te de los miembros de la familia Taylor, hay solo las que los ferrocarriles se adentran en el entorno tres de cierta relevancia: Pete (J. Farrell MacDo- de montaña. El desconocimiento de Alpha Video nald), el maquinista del Limited Express; Tío Bill sobre lo que editaban es tal que buena parte de la (James O. Barrows), el anciano compañero de re- DVD 161 levo de David, que se jubila al inicio y desaparece posterior, silente y sonora: atención pormenori- del argumento; y Gertie (Dot Farley), la prima de zada al detalle; profundidad psicológica; presen- Sally. Esta última, al principio, está de visita solo cia de metáforas visuales; propensión simbolista; por unos días, pero se encapricha de Joe y demora incursión de gags sutiles y sofisticados; «planos su partida. Preocupada por Gertie, Sally la obliga de tres»; presentación metonímica de personajes a marcharse, con lo que se queda sola a merced a partir de planos de detalle de distintas partes de Joe. El clímax acontece cuando este, borracho, del cuerpo; énfasis fotográfico y lumínico; esme- intenta violarla, mientras David, conocedor de lo rada composición pictórica de los encuadres, etc. que sucede a través de su hijo, está inmovilizado Volviendo a los detalles del DVD de Alpha Video, en la torre de señales por causa de unos vagones casi resulta innecesario señalar que no posee con- de mercancías que circulan salvajes y van a impac- tenidos extras, tan solo selección de capítulos y tar contra el Limited, lleno de pasajeros. El final un avance de los próximos títulos de terror de la se resuelve satisfactoriamente cuando David con- distribuidora. sigue descarrilar los vagones y salvar al Limited y, Es triste que los tres films comercializados en después, en un inusual anticlímax, mediante un DVD de Brown en Universal —The Signal Tower, flashback, se nos informa de que Sally consiguió Smouldering Fires y The Goose Woman— se ha- deshacerse de Joe al dispararle con una pistola yan editado siempre en condiciones inadecuadas que ella creía descargada, aunque no le mata y solo y por compañías videográficas marginales. Como le hiere. Su argumento, pues, es sencillo. Describe, comenté en mi reseña de The Goose Woman (Se- además, la vida cotidiana de individuos corrientes cuencias, n.º 30, segundo semestre de 2009), Ke- y de origen humilde en un entorno agreste aislado, vin Brownlow llegó a convencer a Martin Scorse- razón por la que vuelve a conectar con el género se para que lanzara en DVD estas cintas junto con americana. Butterfly, pero al final el cineasta se echó atrás.
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