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Nosferatu. Revista De Cine (Donostia Kultura)

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Nosferatu. Revista De Cine (Donostia Kultura) Nosferatu. Revista de cine (Donostia Kultura) Título: América a través de un parche y un monóculo Autor/es: Casas, Quim Citar como: Casas, Q. (2004). América a través de un parche y un monóculo. Nosferatu. Revista de cine. (47):4-16. Documento descargado de: http://hdl.handle.net/10251/41381 Copyright: 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: América através de un parche yun monóculo Quim Casas Ohikoa da wú~td IJeren bin~n!fiak edt•!'l:.ca. Frit z. Lang ¡•::; :.t'/1 onu¡ /wm•n salbw•spt'll bat i:an. 1J om'8Ytt ik ormi((/ik ere argitu galJI'ko pwtlu hat::uk drtude. //ala t'f(/ guztiz t•re. bm! bi:itwko ibilúir/('(1 ben·e¡wJ.-i btn: oúrorl'll. t'Zft/...'11111 l'IU lan t'!!tÚ : ult'l/1'11 trstia.nnl::t'lll'la, {J((/t •::; dailt'li<' '- herl'lliil ... L. ere. Patrick .llc Gi/l¡~rm ek idat::.itako binp.,rqfiwm bi/(lr/e::;. 4 Sólo se vive una vez n una secuenc ia de El des precio (Le wood en 1976. Paul le dice a Camille que se trata del Mépris, 1963), libre adaptación de la no­ director de l westem con Marlene Dietrich que vieron vela de Alberto Moravia a cargo de Jean­ la otra noche. La actriz asegura que es un film for­ E Luc Godard, e l personaje del escritor midable y el marido comienza a evocar las excelen­ Paul Java! (Michel Piccoli) hace las presentaciones cias de la secuencia del juicio de M el Ferrer, pero entre su esposa, Camille (Brigitte Bardot), y el viejo Lang, agradeciendo el cumplido, dice preferir de en­ c ineasta que ha llegado a Italia para rodar una ver­ tre sus obras la que dedicó al asesino de ni1ios de sión de La Odisea, Fritz Lang, nacido en Viena en Diisseldorf. Camille, sonri ente, confiesa que también 1890, haciendo de Fritz Lang, fa llecido en Holly- le gusta mucho. En esta secuencia mucho más significant e que mera­ mente con el mismo foco critico -aunque subsista el mente cinéfila, Lang habla en primera persona con la rastro de quienes pensaban que la etapa holl ywoo­ complicidad de Godard, ya que los diálogos corres­ diense de Lang carecía de interés a partir de su pondientes al veterano director fueron obra de am­ tercera película-, puede apreciarse que el retrato so­ bos. El breve diálogo resulta premonitorio. Los per­ cial ofrecido en M, el vampil'O de Diisseldorf es sonajes de Godard muestran su admiración por E n­ perfectamente transportable al que capturan las imá­ cubridora (Rancho Notorius, 1952), el personal genes de M ientras N ueva Yor k duerme (1Vhile the westem de bajo coste que Lang rodó para un estudio Cily Sleeps, 1956), y curiosamente las dos son las pcquet1o de Hollywood, Fidelity Pictures, pero el di­ penúltimas películas de la primera etapa alemana y rector vienés establece una clara y significativa pre­ de la época norteamericana, respectivamente, es de­ ferencia por su primera película sonora, lVI, el vam­ cir, el preámbulo del exilio, la fi sura del desencanto. piro de Diisseldorf (M, 193 1), reali zada poco antes Tampoco resulta dificil comprobar cómo los arabes­ del inicio de la encruc ij ada esencial en su vida y en cos fatalistas de Hara-Kiri (19 19), Las tres lu ces su obra, cuando dejó Alemania para, Iras una breve (Der Miide Tod, 1921) y las dos entregas de Los estancia en París, establecerse profesionalmente en nibelungos (Die Nibehmgen, 1923- 1924) se adap­ Estados Unidos durante dos décadas. tan sin problemas al modelo teórico del cine nortea­ meri cano en Sólo se vive una vez (You Only Live Cinco ai'íos después de que Godard hiciera E l des­ Once, 1937), La venganza de Franlc James (The precio, el crítico e inmediato cineasta Peler Bogda­ Retum of Frank James, 1940), Perversidad (Scar­ novich publicaba un 1i bro fundamental ( 1) en el que let Streer, 1945), Encubridora y Deseos humanos reivindi caba vehemente la etapa norteamericana de (Human Desire, 1954); la estructura del sueño suge­ Lang, algo que ya se habían esforzado en conseguir rida por Lang para El gabinete del doctor Caligari Henri Langlois, Lotte Eisner y los jóvenes tmcos de (Das Kabine/1 des Dr. Caligari, 1919), de Robert Cahiers du Cinéma desde el reducto de la cinemate­ Wiene, funciona a la perfección en La mujer del ca francesa. Esta disyuntiva en torno al Lang ameri­ cuadro (The TVoman in the JVindow, 1944); los cano y el Lang alemán se ha perpetuado de fo rma gánsleres de Los sobomados (The Big Heat, 1953) más matizada hasta la actuali dad, creándose un equí• no son más que el reflejo contenido de los genios del voco juicio de valores que va más allá de la mera mal exacerbados y expresionistas tipo Mabuse y el comparación entre una u otra película de un mismo fantomático Haghi de Spioue (Spioue, 1927); la re­ 5 autor: se hace coli sionar en bruto y en bloque la flexión sobre el cin e de aventuras contenida en Los etapa languiana bajo pabell ón germano con la que contrabandistas de Moonfleet (Moonjleet, 1955) emprendió a partir de 1934 en las diversas compa­ responde a las inquiehtdes del director que realizaba ñías hollywoodienses, olvidando, muchas veces, que seriales en los años veinte y halla eco poco después más all á de condicionantes de producción y de siste­ en el díptico formado por El tigre de Esnapur (Der mas de trabajo, la obra de Lang es extremadamente Tiger van Eschnapur, 1959) y La tumba india (Das coherente, ya que recorre idénticas temáticas con lndische Grabmal, 1959), dos películas fuera del similares inquietudes en la puesta en escena fu era tiempo como puedan estarl o todas las norteamerica­ quien fuera quien pusiera el dinero para la financia­ nas de Lang en cuanto a la ortodoxia y supuesta ción de sus películas y estu vieran habladas (o rotula­ pureza de los géneros clásicos. das) indistintamente en alemán o inglés. Reacio a la violencia, ya que Lang estaba convencido En todo caso, la única diferencia importante reside de que su constante representación en la pantalla en el fu ncionamiento del sistema de los estudios. acababa por converti rl a en una costumbre para el Lang rodó bastantes de sus películas en condiciones espectador supo elidirla admirablemente en M, el prácticas de serie B, bien lejos del aparato tecnológi­ vampiro de Diisseldorf -secuencia de apertura con co puesto a su disposición en los ti empos de la UFA, el asesinato de la ni ña del g lobo-, y cuando en Ho­ pero es muy probable que, dada la crisis en la que se llywood debió enset1arla según criterios de represen­ sumió el cine alemán después de la segunda guerra tación más ortodoxos, entonces Lang tensó la cuer­ mundial, ni tan siquiera hubiera podido segui r traba­ da de un inusual y drástico nahtralismo: las peleas jando con un mínimo de holgura en A lemania. En espasmódicas de Los verdugos también muer en eso su sihtación es completamente distinta a la de (Hangmen Also Die!, 1943) y Cloal< and Dagger Jean Renoir, que pudo volver a rodar con facilidad (1946), la muerte del amante de Joan Bennett que da en su país, que no pertenecía a los vencidos, como inicio a la pesadilla de Edward G. Robinson en La el de Lang, sino a los vencedores. muje•· del cuadro o la imagen icónica de Lee Mar­ vin arrojando café hirviendo sobre el rostro de Glori a No hay división ni de estilo ni de temas entre los Grahame en Los s obornados, son muy buenos años germanos y las décadas estadounidenses y hoy, ejemplos de una concepción directa y realista de la alumbradas todas las películas del director definiti va- muerte y el dolor físico lejos de cualquier retórica eptca tan afm a los géneros hollywoodienses, otra (1 950) y T he Sun S hines Bright (1953), dos pelí• buena demostración de cómo Lang se apartó de los cul as pequeiias hechas a su aire, por delante de las mismos a la búsqueda de su propia concepción del que la crítica y el público consideraba sus obras género. capitales, y esgrimía las mismas razones por las que Lang tenía en tanta consideración su film sobre e l Si uno de los rasgos caracterizadorcs de los perso­ asesino ele niños: la libertad creativa y una primitiva najes de Lang es el fatalismo, tan fa ta listas son los noción del final cut eran un bien tan o más preciado protagonistas de los films alemanes como los de las que ahora para los directores con inh1itiva, asumida películas rodadas en Hollywood, títeres del destino o soslayada conciencia de autores. adverso e inclemente. Sobre esa idea están construi­ das casi todas sus películas mudas, pero es con el No sorprende, en este sentido, que Lang hablara sonido y la voz de Edward G. Robinson, en La mal, o no hablara, de aque llas películas que hizo por mujer del cuadro y Perversidad, donde el desaso­ encargo, caso de la por otra parte noctámbula y siego languiano ante la fragilidad de la condición hu­ sugerente House by tite River ( 1950) y la más mana queda mejor expresado.
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