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EL SIRVIENTE (1963) Gran Bretaña 116 Min

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VIERNES 30 21‘30 h. EL SIRVIENTE (1963) Gran Bretaa 116 min. Ttulo Orig.- The servant. Director.- Joseph Losey. Argumento.- La novela homnima de obin Maugham. ui!n.- Harold Pinter. Fotografa.- Douglas Slocombe (B/N). Montaje.- eginald Mills. M'sica.- John Dan,worth. Productor.- Joseph Losey y Norman Priggen. Producci!n.- .lstree Distributors Limited / Springboo, Productions. Int+rpretes.- Dir, Bogarde (Hugo Barrett)0 James 1o2 (Tony)0 3endy Craig (Susan)0 Sarah Miles (Vera)0 Catherine Lacey (lady Mountset)0 ichard 5ernon (lord Mountset)0 Ann 1irban, (la dama del restaurante)0 Patric, Magee (el obispo)0 Harold Pinter (el hombre del restaurante)0 John Dan,worth (lider grupo de jazz) v.o.s.e. Msica de sala: La msica (film music & jazz) de John Dankworth Muchas veces la desmemoria es in7usta por8ue no se a7usta a criterios ra9onables0 sino al transcurrir de las modas y a la arbitrariedad del recuerdo. :na de las m;s evidentes v<ctimas de esa desmemoria cinematogr;fica ha sido0 sin duda0 Joseph Losey. .ntroni9ado como uno de los auténticamente ?grandes“ durante la década de los sesenta0 con el apoyo del borroso recuerdo de sus inicios en la América natal0 trayectoria interrumpida por las repercusiones de la ?ca9a de bru7as“ y unos oscuros recomien9os en el e2ilio europeo0 Losey fue paulatinamente ?recuperado“ cuando asent en Anglaterra una nueva etapa de su carrera1 8ue desembocar<a en sus me7ores t<tulos: Eva (.ve0 1962)0 Re. patria (Ding and Country0 196E)0 Accidente (Accident0 1966)0 Ceremonia secreta (Secret Ceremony0 1968) y El mensajero (The Go-Between0 1970). I entre todos ellos0 EL SIRVIENTE. Luego posiblemente podamos considerar 8ue Losey e2periment un largo declive 8ue posiblemente ha influido en el radical olvido de su cine2. .l hecho de mantenerse como una figura aislada0 paralela a la brit;nica eclosin del free cinema y del desembarco de numerosos cineastas internacionales en el swinging London de los sesenta -caso de Polans,i0 Antonioni0 Dubric,0 Truffaut0 Lester0 etc.-0 probablemente ha significado una cierta ?orfandad“ historiogr;fica0 pese a 8ue ni entonces ni ahora pueda dudarse de la condicin autoral de sus me7ores traba7os. .n .spaa concretamente0 EL SIRVIENTE fue un auténtico fenmeno0 un film m<tico entre los 8ue abrieron en el otoo de 1967 1a categor<a de ?arte y ensayo“0 8ue signific la irrupcin del cine en versin original subtitulada (y en principio sin cortes de censura) en nuestras pantallas. Hasta tal punto fue as<0 8ue el film de Losey se convirti en uno de los grandes é2itos de la especialidad0 con m;s de cien d<as en cartel cuando su estreno en el cine Savoy de Barcelona y con una reiterad<sima presencia en todos los cine clubs de la geograf<a espaola. I sin embargo0 J8uién la recuerda hoyK :n olvido in7usto0 sin duda0 puesto 8ue EL SIRVIENTE sigue manteniendo muchos de los valores 8ue fundamentaron su é2ito entonces. Por una parte este f<lm iniciaba una feli9 colaboracin entre Joseph Losey y el autor teatral Harold Pinter0 uno de los escritores inscritos en el movimiento de los angry young men0 8ue luego se prolongar<a a Accidente y El mensajero. De hecho0 los importantes 1 Recordemos films del período americano como El muchacho del pelo verde (The boy with green hair , 1948), The lawless (1949) y El merodeador (The prowler, 1950), mientras que en los inicios británicos destacan El tigre dormido (The Sleeping Tiger, 1954), Intimidad con un extraño (The Intimate Stranger, 1955) o Time Without Pity (1956), aunque realmente no recuperó cierta notoriedad hasta La clave del enigma (Blind Date, 1959) y El criminal (The Criminal, 1960). 2 ¿Alguien recuerda hoy día films “multinacionales”, no necesariamente despreciables, como El asesinato de Trostky (The Assassination of Trostky, 1 972), Una inglesa romántica (The Romantic Englishwoman, 1974), El otro señor Klein (Mr. Klein, 1975), Las rutas del sur (Les routes du Sud, 1978) o Don Giovanni (Don Giovanni, 1979)? or<genes escénicos de Losey -con su conocimiento directo de Piscator o Bretch- pod<an facilitar la compenetracin entre guionista y director0 algo 8ue no disimula la componente teatral del filmL pero ser<a errneo suponer 8ue pese a la claustrofobia del relato -casi todo él ubicado en el interior de la aristocr;tica y londinense mansin georgiana de Tony- y la limitada nmina de persona7es principales0 nos encontramos ante un film ?de c;mara“. O en todo caso0 si as< fuese se ver<a trascendido por la barroca y virtuosa puesta en escena de Losey0 e7emplo perfecto de 8ue un film es mucho m;s 8ue una idea argumental o unos di;logos pertinentes. .s en esa puesta en escena0 en la comple7a composicin de los encuadres (con una presencia eminente de los espe7os0 metafrica referencia a la idea del desdoblamiento o la inversin de las figuras centrales del relato)L en los incluso alambicados movimientos de c;mara desarrollados por Douglas Slocombe0 desde la grNa inicial hasta los travellings circulares 8ue también metafricamente encierran a los persona7esL en la e2plotacin efica9 de las relaciones entre los actores y los atinados decorados de ichard McDonaldL o en la e2celente direccin de actores0 donde 7unto a la definitiva consagracin del inmenso Dir, Bogarde (Hugo Barrett) se cuenta con la sorprendente eficacia del casi desconocido James 1o2 (Tony) -hi7o de uno de los productores del film- y la e2celencia de Sarah Miles (Vera)0 pie9a fundamental en la estrategia de Hugo respecto a Tony. Todo ese arsenal de medios narrativos y de puesta en escena est;n al servicio de una par;bola en torno a las relaciones entre amo y sirviente. .ntendida ya en su momento como una plasmacin f<lmica de las refle2iones hegelianas (pre-mar2istas0 por tanto) sobre la dialéctica amo-criado0 EL SIRVIENTE reconstruye el proceso de despo7amiento del poder del amo (el elegante y melifluo aristcrata Tony) por parte de un sirviente e28uisitamente ?profesional“ 8ue0 devenido imprescindible por la incapacidad del amo0 no slo se har; con el poder de la casa0 sino 8ue le encaminar; hacia su destruccin moral mediante un plan casi diablicamente tra9ado y desarrollado. .sa inversin de las relaciones de poder ad8uiere obvias resonancias se2uales -desde la inclusin de Vera como supuesta hermana de Hugo (siendo su amante) e instrumento de sometimiento de Tony hasta la descarada solucin homose2ual de las relaciones entre Hugo y Tony0 despla9ando a la novia Susan (3endy Craig)- y por tanto desborda la relacin profesional para alcan9ar una dimensin casi e2istencial. Pero repit;moslo: la importancia de EL SIRVIENTE no deriva de la significacin ideolgica de su argumento0 ni en la adecuacin de los di;logos0 ni en la agude9a de su observacin de las relaciones de clase en la Gran Bretaa de los aos sesenta. EL SIRVIENTE fue y sigue siendo un film importante gracias a la capacidad de e2presar todo eso mediante la idoneidad y brillante9 de su puesta en escenaL es decir0 de su intr<nseco valor cinematogr;fico0 algo tal ve9 tan olvidado hoy como in7ustamente el propio nombre de Joseph Losey. Te0to1 José .nri8ue Monterde0 ?.l sirviente“0 en dossier ?O0 obras maestras del cine europeo0 1P parte“0 rev. Dirigido0 diciembre 200E. .
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  • Intimate Stranger: the Early British films of Joseph Losey Neil Sinyard

    Intimate Stranger: the Early British films of Joseph Losey Neil Sinyard

    Intimate stranger: the early British films of Joseph Losey neil sinyard In Hollywood you’re still one of the bad boys. (The Intimate Stranger) He doesn’t like the world. It’s a good beginning. (The Damned) E soul, Dirk Bogarde confessed to being reduced to tears by the rave review in The Times when The Servant was premièred at the end of 1963. For Bogarde, this prestigious endorsement of his extraordinary performance as Barrett, the man-servant who brings the life of the aristocrat he serves crashing down about his ears, was a career turning-point, the fulfilment of his ambition to be recognised as a major screen actor and not simply a matinee idol. It marked a similar culmination for its director, Joseph Losey, who, after seeking work in England following his blacklisting in Hollywood during the McCarthy period, had struggled for a decade with, as he saw it, indifferent scripts, philistine producers and studio conformity. In an interview in Films and Filming in October 1963, he had declared: ‘The Servant is the only picture I have ever made in my life where there was no interference from beginning to end, either on script, casting, cutting, music or on anything else. The result, whether the film succeeds or not, whether one likes the film or not, at least it’s something I can defend as being mine. It is all of one piece.’ As a film-struck teenager, I saw The Servant when it was first released and can recall being utterly bowled over by it. At that time, infected by a fashionable disdain towards British cinema in comparison with the panache I have written over twenty books on film, including studies of Richard Lester, Nicolas Roeg and Jack Clayton.