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El Beso Mortal

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El Beso Mortal EEll bbeessoo mmoorrttaall.. Proyección 14/01/19. El Beso Mortal’(‘Kiss Me Deadly’, Robert Aldrich, 1955) Proyección 22/02/2016 LA CAJA DE PANDORA O EL SCI-FI NOIR El beso mortal “Primero encuentras un hilo. Ese hilo te lleva a un cordón, ese cordón te lleva a Título original: Kiss Me una soga…y con esa soga te cuelgan del cuello”... El primerizo Robert Aldrich, nada Deadly. Año: 1955. más firmar sus excelentes westerns 'Apache' (1954) y 'Veracruz' (1954), dio una Duración: 106 Min. País: auténtica vuelta de tuerca al cine noir clásico con la áspera y oscura ‘El Beso Mortal’ Estados Unidos ('Kiss Me Deadly', 1955), una de las incursiones más vigorosas, originales y Dirección: Robert Aldrich contundentes del thriller norteamericano en.. la historia del séptimo arte. Aldrich fue Guion: A.I. Bezzerides un cineasta outsider, raro, voluntariamente “independiente” y este extraordinario (Novela: Mickey Spillane) ejercicio de género lo demuestra. Música: Frank De Vol. Fotografía: Ernest Laszlo Influyó en varias generaciones de directores, desde Jean-Luc Godard hasta (B&W). Reparto: Ralph Quentin Tarantino o David Lynch. Cuando se estrenó, la película dividió a la crítica, Meeker, Albert Dekker, que la consideró demasiado nihilista, quizás demasiado vanguardista, pero acabó Paul Stewart, Juano dejando su huella. En 1987, en Les films de ma vie, François Truffaut escribió: “Para Hernández, Maxine apreciar ‘Kiss Me Deadly’ hay que amar el cine con pasión y conservar un recuerdo Cooper, Gaby Rodgers, Wesley Addy, Nick emocionado de las noches en que descubrimos películas como ‘Scarface’, ‘Le Sang Dennis, Jack Elam d’un Poète’, Les Dames du Bois de Boulogne’ o ‘The Lady from Shanghai’”. Un Productora: United Artists recuerdo afortunado y vigente, of course. Robert Aldrich fue una de las personalidades creativas más atractivas y desconcertantes del cine estadounidense de posguerra. Reventando convenciones y modas, su línea fílmica fue deliberadamente dura, amarga, visualmente contrastada y conceptualmente incendiaria. Su visión personal del mundo y del cine habla de la resistencia del hombre a su entorno, de su lucha por sobrevivir a la hostilidad que le rodea. Como el propio Aldrich, desafiante y orbital al Hollywood de su tiempo. La energía casi cavernícola de Mike Hammer, el carismático personaje de otro outsider de la novela negra como es Mickey Spillane, se ajusta como un guante a la personalidad e imaginación visual de Aldrich. El granítico detective, que en el film tiene las severas facciones de Ralph Meeker, refleja perfectamente la mirada adusta y crítica del cineasta, aún siendo evidente el desprecio de éste, no sólo a Hammer, sino al mismo Spillane (al que consideraba antidemocrático y abiertamente fascistoide) El realizador de ‘¿Qué fue de Baby Jane?’dijo muchas veces que la película era una metáfora nada disimulada sobre el maccarthysmo y el clima de angustia y purga ideológica que conllevaba. Por el contrario, Aldrich y su violento antihéroe acaban persiguiendo una Caja de Pandora menos alegórica de lo que parece, pues a pesar de pertenecer al policíaco, flirtea descaradamente con los géneros más afines a la tensa situación sociopolítica de los años 50 como el terror y el sci-fi. De hecho, El Beso Mortal’ es considerada, para muchos, como el primer film de cinecia-ficción noir. FERNANDO SABINO SEGUÍ Claude Chabrol. Robert Burgess Aldrich (Cranston, Rhode Island; 9 de agosto de 1918 - Los Ángeles, California; 5 de diciembre de 1983) fue un director de cine, guionista y productor estadounidense. Su cine violento y crítico le convirtió en un símbolo del cine estadounidense de la posguerra. Algunas de sus películas más famosas son Kiss Me Deadly, Veracruz, en la cual dirigió a Burt Lancaster, Gary Cooper y Sara Montiel, El gran cuchillo, Sodoma y Gomorra, Doce del patíbulo y ¿Qué fue de Baby Jane?. Robert Aldrich nació en Cranston el 9 de agosto de 1918. Su abuelo fue senador de los Estados Unidos y su padre publicaba un periódico, lo que de alguna manera lo impulsó a seguir la carrera de Economía en la Universidad de Virginia, que posteriormente abandonó para ingresar en el mundo del cine. Se inició en los estudios RKO y fue ayudante de dirección de Jean Renoir, Joseph Losey y Charles Chaplin. En 1950 comenzó en la dirección televisiva y dirigió su primera película, The Big Leaguer en 1954. Realizador desde 1953, pronto destacó por su retrato de la violencia y su crítica demoledora, hasta convertirse en un símbolo del cine estadounidense de la posguerra. Suele recrearse en escenas de violencia desatada y fiera crudeza visual. También trata los temas eróticos con directo desgarro (Sodoma y Gomorra, 1963). Fue despedido durante el rodaje de Bestias de la ciudad (1957) .Ha realizado algunos de los filmes más singulares de Hollywood y gran parte de su trabajo es de visión indispensable para los amantes del cine. Entre sus obras más recordadas están el western Vera Cruz (Veracruz) (1954) -con Burt Lancaster y Gary 11/02/18. La gran estafa.1973 Don Siegel Cooper-, el thriller Bésame mortalmente (Kiss me Deadly, 1955), que fue encumbrado por los franceses,1 la aguda visión del mundo del cine de The Big Knife (1955) y ¿Qué fue de Baby Jane? 11/03/19. Odds again tomorow. 1959 (What Ever Happened to Baby Jane?, 1962), con un memorable duelo actoral entre Joan Crawford Robert Wise. y Bette Davis, entre quienes había mucha tensión durante el rodaje y, una vez acabada la película, desvelaron públicamente su enemistad. Aldrich impuso su toque personal en cada una de sus 08/04/19. El extraño viaje.1964 Fernando Fernán Gomez películas, incluso en aquellas de interés puramente comercial como Doce del patíbulo (The Dirty Dozen, 1967), un ejemplo para las posteriores películas bélicas y que le permitió montar su propio 13/05/19. El extraño amor de Marta Ivers.1946 estudio y financiar sus películas unos cuantos años. En 1955 obtuvo el segundo premio del Festival Lewis Milestone. de Venecia por The Big Knife, mientras que en la edición de 1956 del citado festival, obtuvo el 03/06/19. El detective. 1968 premio de la crítica italiana por Attack. Ese mismo año, obtuvo el premio a mejor director del Gordon Douglas Festival de Berlín por Autumn Leaves. Es el sobrino de John D. Rockefeller Jr. y nieto de Nelson W. Aldrich. Fue el presidente del Gremio de Directores de América (DGA) desde 1975 a 1979. De su matrimonio con Harriet Foster, que duró desde 1941 hasta 1965, tuvo cuatro hijos, que de dedicaron al negocio cinematográfico: Adell, William, Alida, y Kelly Aldrich. En 1966, después de divorciarse de su primera esposa, Harriet, se casó con la modelo Sybille Siegfried. Murió en 1983 debido a un fallo renal. Filmografía: Caught (1949). Big Leaguer (1953) (director). World for Ransom (1954). Apache (1954) (director). Vera Cruz (1954) (director). Kiss Me Deadly (1955) (director, productor). The Big Knife (1955) (director, productor). Autumn Leaves (1956) (director). Attack (1956) (director, productor). The Gamma People (1956) (guionista). The Garment Jungle (1957) (director). Ten Seconds to Hell (1959) (director, guionista). The Angry Hills (1959) (director). The Last Sunset (1961) (director). Sodom and Gomorrah (1962) (director). What Ever Happened to Baby Jane? (1962) (director, productor). 4 for Texas (1963) (director, guionista, productor). Hush… Hush, Sweet Charlotte (1964) (director, productor). The Flight of the Phoenix (1965) (director, productor). The Dirty Dozen (1967) (director). The Legend of Lylah Clare (1968) (director, productor). The Killing of Sister George (1968) (director, productor). The Greatest Mother of Them All (1969) (director, productor). What Ever Happened to Aunt Alice? (1969) (productor). Too Late the Hero (1970) (director, guionista, productor). The Grissom Gang (1971) (director, productor). Ulzana's Raid (1972) (director). Emperor of the North (1973) (director). The Longest Yard (1974) (director). Hustle (1975) (director, productor). Twilight's Last Gleaming (1977) (director). The Choirboys (1977) (director). The Frisco Kid (1979) (director). …All the Marbles (1981) (director). .
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