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Rescatando Películas: DIRECTORES MALOS , DESCONOCIDOS O ONE HIT WONDERS

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Rescatando Películas: DIRECTORES MALOS , DESCONOCIDOS O ONE HIT WONDERS FUNNY GAMES Rescatando películas: DIRECTORES MALOS , DESCONOCIDOS O ONE HIT WONDERS 20 VENTANA INDISCRETA │N°4 │Universidad de Lima FUNNY GAMES Rescatando películas: ¿Michael Bay y Robert Rodríguez DIRECTORES realmente tienen alguna película rescatable? ¿Se acuerdan de cintas de Herk Harvey, Les Blank o Jonathan Glazer? Pues bien, a continuación, una lista comentada de películas muy apreciables de DESCONOCIDOS O directores malos o casi olvidados para algunos de nuestros ONE HIT WONDERS colaboradores. Carnaval de almas tagonista. Harvey estaba bien lejos (Carnival of souls. Herk de ser un aficionado. Doctorado en teatro por la Universidad de Colora- Harvey, 1962) do, profesor y director escénico, ocu- Filmada en Kansas con un presu- pó su prolongada carrera en filmar puesto más que exiguo, Carnaval para la Centron Corporation, una de almas ha ganado, a lo largo de reconocida compañía donde rodaría innúmeros filmes educativos e ins - las décadas, un indiscutido estatus titucionales. Carnaval de almas es de filme de culto. David Lynch y su incursión única en el largo de fic - George Romero, entre otros, se ma- ción, filmada con la gente de Centron nifestaron influidos por esta inusual e inspirada en el Saltair Pavillion, un película, una historia de fantasmas complejo de diversiones entonces té- rodada en tiempos en que el horror tricamente abandonado en Salt Lake partía hacia fronteras más físicas. City. Combinando su eficacia como El efecto de Carnaval de almas se director, esa locación inolvidable, la funda en su esencial extrañeza, que extraña presencia (como en trance) propone no solo a la película sino al de su protagonista Candace Hilli- cine entero como una experiencia de goss y la música de órgano de Gene entre-mundos. Moore, puede afirmarse que Herk Inspirado parcialmente en un Harvey, con ese solo filme, afirmó su relato original de Lucille Fletcher, condición de cineasta cabal y sem- “The Hitch-Hicker” (que también dio bró esa larga inquietud, de acción origen a un capítulo de The twilight lenta pero que no ha cesado de cre- zone ), el filme es una joya solitaria del cer desde entonces. El hecho de que fantástico. Aunque pocos se acuer- se proyectara en los Estados Unidos den del nombre de Herk Harvey, su sin copyright lo hizo pasar a domi- imagen cadavéricamente maquilla- nio público de inmediato, lo que no da es imborrable de la memoria de hizo más que acrecentar su carácter de excepción y redoblar su existencia cualquier espectador de Carnaval fantasmagórica. Carnaval de almas. de almas , ya que fue el inefable fan- tasma que acecha sin cesar a su pro- Russo VENTANA INDISCRETA │N°4 │Universidad de Lima 21 FUNNY GAMES Goldfinger (Guy Hamilton, tiempos presentes, sigue gozando de de toda la historia de Hollywood. buena salud, aunque Connery y Ha- Linklater añade que una productora 1964) milton resulten insustituibles. importante de la actualidad jamás financiaría un filme desasosegante, Podemos distinguir nítidamente al Sánchez Padilla James Bond que en siete ocasiones desconcertante, atmosférico e in- interpretó Sean Connery; le impri- trigante como este. Famoso por el mió al personaje un sello de distin- Carrera sin fin (Two- plano final que literalmente se que- ción y rudeza irrepetibles. Podemos Lane Blacktop. Monte ma a la vista mientras el conductor- hacer lo propio con Guy Hamilton Wilson y el mecánico-Taylor avan - (París, 1922); su Goldfinger (1964) Hellman, 1971) zan en la que será su última carrera. Este no es un filme para gente que es la versión paradigmática del agen- Monte Hellman (gonfalonero del busca confort o distracción. Puede te secreto: audaz, glamorosa, teme- cine indie , apadrinado en sus inicios incluso llegar a desconcertar por su raria, tecnológica. Poco importa que por Roger Corman) dirigió en 1971 fachada de película de acción que se apelara al fast motion para impri- (con los auspicios de los Estudios no cuaja, pues –a contravía de lo mirle a ciertas escenas la sensación Universal) Carrera sin fin , una es- de vértigo o que a través del montaje dicho– las carreras de autos son los tupenda road movie que con punto momentos privilegiados por Hell- se simulara la actuación de Connery de vista documental, sobriedad pu- en una locación en la que no podía man, solo al comienzo y al final. A ritana y actuaciones orgánicas se- veces importa menos saber quién ha estar (rodaba en simultáneo bajo las meja un estanque en un jardín Zen, órdenes de Hicthcock, Marnie ). Lo ganado que ver los ritos que prece- por su paz interna, su equilibrio y den la misma llegada a la meta: las que realmente interesaba era ver al su lirismo supremo. La desnudez impresiones que dejan los modelos 007 superando el peligro, equipado mecánica del gesto y las panorámi- sorprendentes de autos en cada ciu- con adminículos caros y letales, se- cas inspiradas subsumen los lega- dad; los comentarios mecánicos; o duciendo y ligándose furtivamente dos del western y los modelos del el desmontaje de la carrocería del con bellas mujeres, infiltrándose cine de Robert Bresson, al mismo coche para liberarlo de peso super- en las entrañas de un adversario tiempo. Todo gira alrededor de dos fluo, por ejemplo. La influencia de ruin y global (aquí, el inescrupulo- personajes sin nombre (el afamado Carrera sin fin en el cine de Vincent samente notable Audric Goldfinger, cantautor country James Taylor y el Gallo ( The brown bunny ) y Bruno del alemán Gert Frobe). Guy Hamil- baterista de los Beach Boys Dennis Dumont ( Twentynine palms ) es ton supo componer y articular esas Wilson) unos “fierreros” (probable - palmaria. No alcanzó a ser un éxito líneas argumentales con tensión mente ex hippies) que conducen un comercial en su momento, no obs- dramática, fluidez y sentido del es - Chevrolet 150 de 1955 acondiciona- tante que la Universal esperaba que pectáculo; respaldado por el sagaz do de forma casera con el que se ga- se convirtiera en un nuevo Busco mi y encantador conductor de la trama, nan la vida en duelos de alta veloci- destino . En 2005 fue presentada en Connery; por un presupuesto de 3 dad con otros conductores a los que copia restaurada en el Festival de millones de dólares y por una banda retan y encuentran en el camino. En Cannes, copia que tuvimos ocasión sonora inspirada (y emblemática), su recorrido, se cruzan con un pilo- de ver en el Festival Internacional con influencias de jazz y de música to apelado GTO (el notable Warren de Cine Independiente de Buenos sinfónica (escrita y dirigida por John Oates) un tipo en plena crisis de Aires. Se puede decir que Carrera Barry). Hamilton había dirigido an- adultez que maneja un “Sierra Ye- sin fin es una estupenda película tes un musical, un melodrama y va- llow” GTO Pontiac 1970 y con el que de un director poco conocido, inde- rios largos de serie B, solo una cinta apuestan una carrera a Washington pendiente absoluto, del que apre- era del género de acción ( The best of D.C. En medio de ellos se encuentra ciamos también y grandemente enemies , 1961). Fue en dos ocasiones una chica sin rumbo (Laurie Bird), A través del huracán (Ride in the asistente de dirección de Carol Reed una runaway que es objeto de de- whirlwind , 1967) y El tiroteo (The (una en El tercer hombre , 1949) y de seo y salta de unos a otros. Es cla- shooting , 1967). John Huston (en La reina africana , ro que Hellman profesa una pasión Contreras 1951). Su labor como director de la –acaso un fetichismo– por los au- saga significó el ejercicio de una op - tomóviles poderosos, reloaded , por ción artística distinta en su carrera “los piques” y por su ética. Se aplica Burden of dreams (Les (lo haría en cuatro ocasiones). El su- registrando con lentes de focal larga ceso de taquilla que fue Goldfinger escenas vaciadas, donde los cuerpos Blank, 1982) significó, además, un par de cosas y las máquinas en ambientes viales, La mayoría de gente que habla de importantes: la consolidación del agrarios, segregan situaciones crí- Burden of dreams no tiene ninguna icono popular Bond y el lanzamiento ticas, modernas. Según el director cosa mala que decir sobre ella, eso definitivo de la franquicia del agente Richard Linklater, quien profesa está claro. Pero tampoco la consi- secreto al comercio mundial. Esos una admiración total por Carrera deran algo más que un interesante son los hechos, pero el aporte decisi- sin fin , se trataría de la última pe- making off , un grandioso extra en vo de Hamilton fue su contribución a lícula de los años sesenta (a pesar la edición especial del DVD de Fiz- la forja de una leyenda que aún hoy, de su estreno en 1971) y también carraldo . Es cierto que el filme de tras casi cincuenta años y sucesivas de la primera película del setenta, Herzog es algo espectacular, una adaptaciones a la geopolítica de los por añadidura, la más inventiva gran obra (aunque no la mejor), pero 22 VENTANA INDISCRETA │N°4 │Universidad de Lima FUNNY GAMES suelen ser los guiones de los blockbus- ters de acción. El personaje de Ed Harris (el general del ejército Fran- cis Hummel) no es el villano típico, plano y casi un hijo de Satán que por una maldad esencial o el amor al poder quiere destruir el mundo. Es un tipo, en cambio, en sintonía con el mundo marcial del que pro- viene, tiene que hacer las cosas que considera correctas, apelando a lo que pueda. En contraste, su grupo de secuaces son más bien mercena- rios sádicos que se divierten con la posibilidad de desatar un baño de sangre. Entre ellos, el segundo al mando (interpretado correctamen- te por David Morse), es también un personaje verosímil, equilibrado y cuajado.
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