El Ltimo Hurra (1958) Ee.Uu

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El Ltimo Hurra (1958) Ee.Uu VIERNES 12 21‘30 h. EL LTIMO HURRA (1958) EE.UU. 121 min. Ttulo Orig.- The last hurrah. Dir ctor.- John Ford. Argum nto.- La novela homnima de Ed in O"Connor. Gui%n.- Frank Nugent. Fotografa.- Charles La ton, Jr. ((/N). Monta) .- Jack Murray. Productor.- John Ford. Producci%n.- Columbia .ictures. Int,rpr t s.- Spencer Tracy (Frank Skeffington), Jeffrey 2unter (Adam Caulfield), 3ianne Foster (Maeve Caulfield), .at O"(rien (John Gorman), (asil Rathbone (Norman Cass, Sr.), 3onald Crisp (El cardenal), James 5leason (Cuke Gillen), Ed ard (rophy (Ditto oland), John Carradine (Amos Force), Jane 3ar ell (Delia oylan). v.o.s.e. Msica de sala: Tempestad sobre Washington (Advise and consent, 1962) de Otto Preminger Banda sonora original compuesta por Jerry Fielding 1958 fue un a6o magn7fico para el arte cinematogr8fico. Es el a6o de V,rtigo (Alfred 2itchock), de El Hombr d l O st (Man of the :est" Anthony Mann), de S d d mal (Touch of Evil; Orson :elles). También es el a6o de EL LTIMO HURRA0 una pieza magistral a la que, curiosamente, s7 se le han puesto paliativos a lo largo de la historia de la cr7tica. Qué l8stima, cu8nta sabidur7a y belleza malgastada. El film es una crnica de una derrota que, en esta ocasin, llega a finalizar con la propia muerte. Una nueva eleg7a del tiempo pasado y perdido, una reafirmacin en los absolutos valores morales del héroe fordiano. Cuando John Ford realiza EL LTIMO HURRA ya ha firmado una de sus m8s sombr7as obras maestras, 1 ntauros d l d si rto (1956); otros t7tulos de esa misma década no est8n eAentos de su caracter7stica melancol7a y nostalgia por el pasado, pero sobre todos ellos, de un modo u otro, planea siniestramente la presencia de la muerte: 2agon Mast r (1950), Ro Grand (Rio 5rande, 1950), El hombr tran3uilo (1952), Th Sun Shin s 4right (1953) y los tercios finales de 1una d h,ro s (1955) y Escrito ba)o l sol (195E); tras EL LTIMO HURRA, Ford firmar7a una de las m8s duras visiones de la guerra civil norteamericana Misi%n d audac s (1959), entrando en la década siguiente en la etapa final de su carrera, la m8s subversiva, como se ha escrito en numerosos ocasiones, y con la (relativa) eAcepcin de la también nost8lgica comedia La tab rna d l irland,s0 que concluye con una absoluta destruccin de la mitolog7a del estern cl8sico -El sarg nto n gro (1960), Dos cabalgan )untos (1961), El hombr 3u mat% a Lib rty Valanc (1962), su episodio para La con3uista d l O st (1962), El gran combat (1964)- y se cierra, simblicamente, con un suicidio: Si t mu) r s (1965). Resulta l7cito ver en EL LTIMO HURRA un cierre de etapa y una suerte de compendio de temas, personaGes y recursos de estilo dentro de la carrera de Ford. Apuntaba Quim Casas la presencia en su reparto de veteranos actores, #algunos dispuestos a volver a Ford tras largos a%os de ausencia o de breves intervenciones -John Carradine, Dan or(age, Jane Darwell-, otros, viejas glorias de Hollywood ,ue hasta ese momento no hab-an posado frente a la c.mara fordiana - asil Rathbone, Ricardo Corte(-, ,ue confieren a la pel-cula ese sentimiento ine0tinguible del paso del tiempo ,ue se abate sobre los rostros duros de los pol-ticos ,ue no han ,uerido, como Skeffington, comulgar con los nuevos tiempos1. M8s concretamente, la cohorte de figuras que forma el equipo de asesores municipales del vieGo alcalde Frank Skeffington (Spencer Tracy), y en particular, el cl8sico personaGe sentimental del ingenuo #Ditto1 oland (Ed ard (rophy) -el cual, en un arranque de candorosa identificacin con su Gefe e 7dolo, se ha comprado un sombrero idéntico al de Skeffington-, son todos muy caracter7sticos de su autor. Nada m8s empezar la pel7cula, vemos a Skeffington saliendo de su dormitorio y poniendo una flor fresca al pie del retrato al leo de su difunta esposa, un gesto que retrotrae a las conversaciones ante las tumbas de sus fallecidas muGeres por parte de los protagonistas de 6u 7 Pri st (1934) H:ill Rogers-, El )o8 n Lincoln (1939) H2enry Fonda- y La l gi%n in8 ncibl (1949) H John :ayne-. En ese gesto de 7ntima delicadeza aparece toda la l7rica fordiana: el amor a la vida queda retratado a través del vac7o que deGan los seres amados. Todos ellos hablan con naturalidad a su amor desaparecido: sinceridad y emocin descontrolada que encoge el alma. I qué decir de la larga y eAtraordinaria secuencia del funeral de una vecina de la ciudad que Skeffington organiza de tal manera que se convierta en un auténtico mitin donde se dan cita las fuerzas vivas de la poblacin, una org7a de iron7a y humor negro como slo Ford sab7a hacer. EL LTIMO HURRA es de una riqueza inacabable. Como toda obra de Ford es una suma de capas que hay que atravesar con delicadeza para poder disfrutarlas en su Gusta medida. Considerarla un mero resumen de temas y recursos estil7sticos del Ford de la época es hacerle un flaco favor a este film, magn7fico por el soberbio equilibrio que mantiene entre ese car8cter, digamos, recopilatorio, y lo que tiene de anuncio de posteriores logros, demostrando en sus pl8cidas im8genes que Ford, leGos de dormirse en sus laureles, de disfrutar pl8cida y cmodamente de su condicin de cl8sico viviente del cine norteamericano de su tiempo, siempre miraba hacia delante. Adem8s de ser una pel7cula muy fordiana, EL LTIMO HURRA es también una pel7cula moderna y progresista; y cuando hablo aqu7 de progresismo no me refiero al mismo en sentido pol7tico, sino a su cualidad de JprogresivoK (diccionario en mano, Jalgo que avanza, favorece el avance o lo procura, o que progresa o aumenta en cantidad o en perfeccinK). Teniendo muy en cuenta que en los Estados Unidos no se concibe la pol7tica en los términos europeos de izquierdas o de derechas, EL LTIMO HURRA ofrece una visin de la pol7tica nada halagLe6a. El alcalde Skeffington est8 mostrado en todo momento como un manipulador y un tergiversador (de hechos, palabras, discursos, gestos, sonrisas, miradas ... ); pero, eso s7, a pesar de ello, Skeffington es un manipulador JencantadorK: simp8tico, afable, irnico, entra6able ... Un pol7tico nato, un auténtico actor, tanto en el 8mbito pMblico como en el privado: véase, respecto a esto Mltimo, ese momento impagable en el que Skeffington le entrega un sobre con mil dlares a la hiGa de la anciana que acaba de morir, Gur8ndole que ese dinero se lo deG la difunta a ella en herencia: el gesto de Skeffington, Gurando con la mano en alto, mientras niega sutilmente con la cabeza (gran actor Spencer Tracy), no tiene desperdicio. 3e hecho, la actividad pol7tica de Skeffington est8 vista en todo momento como si fuera una representaci2n (lo cual anticipa el car8cter teatralizado que caracterizar8 a El hombr 3u mat% a Lib rty Valanc 3" el lema del protagonista tiene algo de teatral: #Frank Skeffington est. a disposici2n de cual,uier ciudadano de este estado1 " en las primeras secuencias, le intuimos (pues no le vemos) recibir a una dama en su despacho: Ford filma el saludo de Skeffington con la dama fuera de campo, destacando por tanto ese gesto teatral del personaGe. Con ese mismo Jsentido del espect8culoK propio de tantos pol7ticos, se presenta en el club .lymouth, donde se reMnen los banqueros de la ciudad, para reclamarles el apoyo financiero al plan de rehabilitacin de un barrio degradado que acaban de retirar. 3e la misma manera, es capaz de decir un cumplido a la t7mida esposa de su sobrino, Adam Caulfield (Jeffrey 2unter), para ganarse su confianza; o, inmediatamente después de ser derrotado en su Mltima campa6a electoral a la alcald7a, anunciar su candidatura a gobernador del estado Mnicamente para fastidiar a sus enemigos, que le est8n viendo por televisin ... La mirada de Ford sobre las nuevas generaciones est8 te6ida de amargo escepticismo: el hiGo de Skeffington, Frank Jr. (Arthur :alsh), es un Goven inconsciente y de pocas luces que no quiere saber nada de pol7tica; el programa de televisin en virtud del cual el Goven aspirante a la alcald7a se promociona acompa6ado de su esposa, sus hiGos y su (falso) perro est8 visto con eAcepcional sarcasmo. No es de eAtra6ar, en este sentido, que, aMn sin descuidar el dibuGo de sus rasgos m8s discutibles, Ford acabe viendo en Skeffington a un dinosaurio de otros tiempos, al representante de una forma de hacer y entender la pol7tica condenada a la eAtincin, y que ello le inspire patetismo. .or m8s que muchos preferir8n quedarse con el dibuGo del Skeffington pol7tico, para Ford este Mltimo es también un ser humano con sus virtudes y defectos, y su decadencia y su muerte son el final de un estilo de entender la vida. EL LTIMO HURRA combina iron7a y mala uva a raudales con una no menos consistente carga de pura emocin. Una visita nocturna de Skeffington y Adam a un oscuro calleGn se convierte, m8gicamente, en un simblico viaGe sentimental al pasado del protagonista. Las secuencias finales se cuentan entre lo m8s bello legado por su autor. El poético travelling lateral y en plano general que muestra el paseo en solitario de Skeffington, de regreso a su casa tras haber perdido las elecciones, mientras al fondo de la imagen la multitud celebra el triunfo de su rival. El genial plano que muestra la entrada de Skeffington en su hogar: la c8mara est8 colocada en semipicado, desde el punto de vista subGetivo, imposible, del retrato de la difunta esposa del protagonista (ni que decir tiene que la mirada de Skeffington se posa inmediatamente en ese cuadro: al poco, Skeffington sufrir8 un grave ataque en la misma escalera que conduce al piso superior, donde est8 colgado ese cuadro).
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