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• | Ra Walsh I IV • | Ra Walsh i IV fflarti ITlartDrE11 1 pas del cinéma mut al ciné­ ard the Pirate (El pirata Barbanegra, ma sonor va suposar una pro- 1952). va insuperable per a molts dels Dins el genere negre, es poden tro- directors que s'havien format bar aqüestes grans aportacions: The en la primera època del ciné­ Roaring Twenties (Els violents anys ma: la raô principal va ser no vint, 1939); They Drive by Night (La saber integrar els diàlegs i tota pasión ciega, 1940); High Sierra (El úl­ la resta d'informaciô sonora en el pro­ timo refugio, 1941) i White Heat (Al cès de realitzaciô de la peflfcula. Fins rojo vivo, 1949). i tôt alguns directors miraren de reiill Qtiins son els trets que caracterit- aquella innovaciô i tan sols rodaren zen les peflicules de Raoul Walsh? peflicules sonores com si ho fessin de Quan es veuen les peflicules de Walsh passada, com és el cas de Charles Cha­ sembla que simplement és un direc­ plin. Per contra, el prestigi que havia tor d'acció, amb molts de moviments anat guanyant Raoul Walsh com a di- de camera rápids i sense gaire temps rector durant 1 epoca del cinéma mut dedicat a la introspecció psicológica encara va prendre mes força en co- dels personatges... Ara, en mirar2 mençar a fer peflicules sonores. Una qualsevol peflícula d'aquest director, de les causes principals d'aquest pres­ es descobreix tota una concepció del tigi és que Raoul Walsh si que va sa­ món en qué fhome no és res mes que no el fet de ser com son: Roy Earle, ber que fer i integrar els diàlegs i al- una jugueta en mans del destí que ja amb fama ben merescuda de violent, tres éléments sonors en les peflicules; té marcat. No obstant aixó, tots els s'emociona en sortir de la presó i anar és a dir, els diàlegs no conten la tra­ seus personatges no es resignen mai a un pare per sentir una altra vegada ma, no fan evolucionar la peflicula, i sempre hi ha una rebeflió contra el que f herba li toca els peus o quan pas­ sinô que son simplement un suport que és inevitable. «Sempre cap enda- sa per davant de la granja on va créi- mes de tota f obra; és a dir, Walsh évi­ vant!» és el leivmotiv, l'actitud vital xer i era tan feliç. També Roy Earle ta de totes totes fer teatre filmât, per- que mantenen Custer a They Died és capaç de fer un acte de bona vo- què son ben diferents les concepcions •with Their Boots On; Roy Earle a High luntat i paga una operació perqué una que de f espai i muntatge tenen el ci­ SzVrraiCodyJarreta White Heat. Cus­ jove amb una cama mes llarga que néma i el teatre i, per tant, els diàlegs ter (Errol Flynn) sap que la lluita con­ l'altra pugui caminar bé, simplement també son utilitzats de manera dife- tra els indis és injusta, que ells tenen per amor. Cody Jarret cerca sempre rent. la rao, pero l'obediéncia militar és la estar devora sa mare perqué ella és la Va fer un total de quaranta-cinc criada de la moira que fa complir el persona que sap tranquiflitzar-lo i, peflicules sonores i son très els génè­ destí. Roy Earle (Humphrey Bogart) quan li fan saber que l'han morta, em- res que tôt d'una s'associen a la ma­ fuig cap a la muntanya perseguit per bogeix. jor part de tota aquesta obra: «wes­ dotzenes de policies i segurament sap De fet, Raoul Walsh va alimen­ tern»; cinéma d'aventures i cinéma que no hi ha res a fer, pero només mor tar una imatge d'eli mateix que, al nègre. quan baixa la guardia en sentir que la cap i a la fi, no es corresponia gaire Com a «westerns», cal destacar- seva estimada és a prop d'on ell s'ha amb la realitat. En acabar de llegir ne: They Died with Their Boots On amagat. Cody Jarret (James Cagney) la seva autobiografia, el lector s'ho (Murieron con las botas puestas, 1941) se suicida quan sap que irónicament ha passât molt bé, però se'n duu la Colorado Territory1 (Juntos hasta la ja és a la meta que sa mare sempre li impressió que Walsh simplement muerte, 1949); Distant Drums (Tam- havia dit que podia assolir: el cim del viatjava molt i que s'engatava molt bores lejanos, 1951); The Lawless Bre- món, simbolitzat ara per un dipósit mes. Però darrere aquesta imatge ed (Historia de un condenado, 1953); de gas inflamable envoltat per poli- «alegre», n'hi ha una altra que solia The TallMen {Els implacables, 1955) cíes que esperen dur-lo a la presó per amagar no se sap ben bé per qué: i A Distant Trumpet {Una trompeta le- després fer-lo matar la cadira eléc­ Gregory Peck contava a una entre­ jana, 1964). trica. vista que, durant el rodatge de Cap­ Quant al cinéma d'aventures, A mes, tampoc no son personat­ tain Horatio Hornblower, va entrar s'han d'esmentar: Captain Horatio ges plans, tots ells, encara que siguin inesperadament dins la cambra de Hornblower {El hidalgo de los mares, delinquents, sempre trobaran una Walsh i que el director va fer tots els 1951); The World in His Arms (El ocasió per demostrar que son les cir- possibles perqué no veiés que llegia mundo en sus manos, 1952) i Blackbe- cumstáncies les que els fan dolents, Le rouge et le noir de fescriptor Stend­ hal. Per damunt de la imatge de be- gut i aventurer, hi ha, dones, tota una personalitat amagada que cal rastre- 1 mirar v 3 2 irfig Observar amb la ment, 1 jar-la meticulosament per no caure Remake de High Sierra, tema ja tractât peal r jutjar, considerar. Gran Enciclopedia Cata­ segon article d'aquesta serie. lana. en falses imprécisions. Raoul Walsh durant molt de temps ha estât foragitat de les llistes de grans directors de cinema, com ara John Ford o Howard Hawks. m No ha estât fins ara que comença a haver-hi un intent de «récupéra?-lo»... Pel motiu tôt just ara acabat d'ex- mes tard aqüestes paraules no han pcr- »[...] D'altra banda, en aquesta posar o perquè, en principi, les sèves dut gens de vigencia i segur que en­ afirmado per ventura hi ha tot una peHïcules no son mes que historiés cara en tenen mes: faceta nova de fhumor que s'ha de ben contades amb molta d'acciô, Ra­ «Estic convençut que la decaden­ dcscobrir o, mes aviat, tornar a des- oul Walsh durant molt de temps ha cia de Hollywood no esta causada per cobrir. Pels antiherois de What Price estât foragitat de les llistes de grans la senilitat. Per contra, és una recai- Glory {El precio de la gloria) i altres directors de cinéma, com ara John guda (temporal, vull creure-ho aixi) peflícules d'aquell genere el sexe era Ford o Howard Hawks. No ha estât en la immaduresa de l'adolescència. divertit. fins ara que comença a haver-hi un [...] Els inadaptats per vocació puflu- Fa vint-i-cinc segles, Aristófanes intent de «recuperar-lo», com és el ci- len per la industria i no tan sols mi­ va ensenyar-nos a riure'ns del sexe i cle retrospectiu de très mesos (maig, nen l'or, sino també les muntanyes de els francesos varen fer de Y amour frus­ juny i juliol) que ha programat la Fil- brossa. El seu producte pestilent ha trât una industria nacional. No obs- moteca Nacional espanyola i que fa desencantat milions de clients que tant aixó, els nostres neófits contem­ conjuntament amb la Cinemateca tomaran només quan puguin veure plen amb freqüéncia excessiva el sexe Portuguesa. Alhora, la Cinémathè­ bones peliicules. com una cosa molt fosca. que française, l'Institut Lumière de »Crec que aquests records demos- La meva única queixa és l'infanti­ Lyon i la Cinémathèque Suisse de tren que he filmât una bona part d'as­ lisme disfressat de sofisticado. És la Lausana també es fan ressô de l'obra sassinats, violacions i incendis. Perô, meva esperança, fins a cert punt op­ de Raoul Walsh. quina diferencia entre aquests élé­ timisme, que una nova generado de Cal acabar aquest seguit d'articles ments i el sadisme, la sodomia i l'es- realitzadors cinematografíes superara amb la reproducciô d'unes reflexions catologia! Els meus bruts creguts no aquesta preocupado i aprendrà l'abe- que feia Raoul Walsh sobre el ciné­ dubtaven mai si eren o no máseles. cé de fespectacle, que és la base d'a- ma produit a Hollywood els primers L'amant viril no tenia nécessitât de quest estrany producte de consum, anys setanta, comparant-les amb la despullar-se per demostrar que era un l'art.»3 seva prôpia producciô. Trenta anys home, ni tan sols es treia el capell. FILMOGRAFIA COM A DIRECTOR Quan la peflícula s'ha projectat en versió catalana o castellana, se n'indi­ ca el nom entre paréntesis. Les dues fonts contrastades entre si per esta- blir aquesta filmografia han estât: 1. Tavernier, Bertrand; Coursodon, Jean-Pierre. 50 años de cine norte­ americano. Madrid: Akal, 1997, tom 2, pàg. 1075-1088 2. The Internet Movie Database Ltd. Adreça electrónica: <http://www. imdb.com>. PELLICULES MUDES 1912: Life of Villa. 1914: The Life of General Villa. 1915: Carmen; The Regeneration; The Death Dice i The Fencing Master. 1 Text adaptat de la traducció al castella de les memories de Raoul Walsh: La vida de un hombre.
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