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Descargar Documento Asociado Filmoteca de Andalucía Sala Val Del Omar Programación JUN 2019 ciclo MIÉ VIE RObERT ALDRICH 05 20:30 07 18:00 El gran cuchillo Robert Aldrich. EEUU. 1955. 111 min. byN. v.o.s.e. El beso mortal (Kiss Me Deadly, 1955), el film-noir definitivo de la paranoia atómica y de la era McCarthy. Cineasta de «una disciplina y una autoridad extraordinarias» y con una fuerte vocación independiente, su sexto largome - traje significó la primera producción de su compañía, Associates & Aldrich — Attack! (1956), ¿Qué fue de Baby Jane? (What Ever Happened to Baby Jane, 1962), Canción de cuna para un cadáver (Hush, Hush, Sweet Charlotte, 1964), La banda de los Grissom (The Grissom Gang, 1971)…—. Para ello el realizador no pudo elegir un material más comprometido: The Big Knife, una obra escrita en 1949 por el dramaturgo Clifford Odets, que le había servido a su autor para reponerse comercialmente de los fracasos de sus dos piezas anteriores: Night Music (1940) y Clash by Night (1941), por un lado, y, por el otro, para saldar cuentas con la industria del cine tras una experiencia traumática como guionista.[2] No resulta difícil imaginar los motivos por los que el cineasta, alguien al que «le son hasta tal punto propios tanto sus temas como su puesta en escena FICHA TÉCNICA pasional»[3], eligió adaptar la obra de Odets. Su afán discursivo, su mirada Título original: The Big Knife. crítica sobre la sociedad y las instituciones norteamericanas, entroncan a la Título español: El gran cuchillo. perfección con la dramaturgia del autor de Waiting for Lefty (1935) y Awake Nacionalidad: EEUU. Año de producción: 1955. and Sing (1935), que redunda en esta obra en muchos de sus temas comu - Dirección: Robert Aldrich. nes, de la violencia moral que asola a la sociedad contemporánea a los Guion: James Poe. Según la obra de teatro de Clifford Odets. mecanismos de corrupción de la inocencia por parte de un sistema manipula - Producción: The Associates Aldrich Company. dor y destructivo. La visión de la industria cinematográfica que nos presenta Productor: Robert Aldrich. el realizador resulta una crítica inteligente y lúcida de un medio que aborda - Fotografía: Ernest Laszlo. rá, a medida que avance más errática su carrera, de forma cada vez más Montaje: Michael Luciano. nostálgica y un tanto amargada — La leyenda de Lylah Clare (The Legend of Música: Frank DeVol. Lylah Clare , 1968), El asesinato de la hermana George (The Killing of Sister Sonido: Jack Solomon. George , 1968)—. Una denuncia que, según José María Latorre, posee «más Dirección artística: William Glasgow. temperamento que inteligencia creadora»[4]. Bien, es cierto que ni Aldrich ni Maquillaje: Louis Hippe. James Poe, el encargado de la adaptación, aportan nada personal a la visión Intérpretes: Jack Palance, Ida Lupino, Wendell Corey, Jean Hagen, Rod de Odets, simplemente se contentan con seguirla de cerca, con respetar sus Steiger, Shelley Winters, Everett Sloane. posiciones, pero no lo es menos que la integración que consiguen de cine y Duración: 111 min. Versión: v.o.s.e. ByN. teatro es casi perfecta. El principal trabajo de Aldrich resulta, como destacó en un artículo sobre la película Truffaut[5], dirigir cinematográficamente una SINOPSIS puesta en escena architeatral. Evidentemente The Big Knife no se cuenta entre Charles Castle, un actor de Hollywood muy exigente consigo los centenares de ejemplos de «teatro filmado», su reformulación estrictamen - mismo, no está satisfecho de sus últimas interpretaciones. Por eso, te cinematográfica de una puesta en escena teatral, su ambición y su rigor a cuando un productor le hace una tentadora oferta que él conside - la hora de violentar el modo de representación institucional tienen por resulta - do el conseguir hacer visible un dilema moral complejo (el de cómo mantener ra que dañaría su reputación, la rechaza. Pero el productor lo la propia dignidad en un medio profundamente indigno) sin caer en el film de chantajea, amenazándolo con revelar hechos de su pasado que mensaje o en la moralina fácil tan común a un cierto Hollywood pacato. […] empañarían más su prestigio que el papel que le ha ofrecido. [1] Declaraciones de Joseph Losey a Ciment, Michel: Le livre de Losey , Paris, Ramsay, 1986 –edición defi - nitiva–, p. 158. COMENTARIO [2] Ver la biografía crítica sobre el escritor de Weales, Gerald: Clifford Odets: Playright , Nueva York, Pegasus/Bobbs-Merrill, 1971. Luces y sombras de Hollywood [3] Boreil, Jean: «Doctor Jekyll and Mr. Hyde. Qu’est-il arrive a Baby Jane?» en Positif nº56, noviembre Santiago Rubín de Celis, 2010. Miradas de cine. 1963, p. 66. Hasta el momento de rodar The Big Knife, Robert Aldrich, una de las prome - [4] Latorre, José María: «El director, la industria y otras consideraciones» en José A. Hurtado y Carlos sas del Hollywood de principios de los 50, ya había brindado muestras abun - Losilla (Coords.): La mirada oblicua. El cine de Robert Aldrich , Festival de Cine de Gijón/Filmoteca de la Generalitat Valenciana/Centro Galego de Artes da Imaxe, 1996, p. 11. dantes de su talento gracias a dos westerns hermosos, líricos y de gran vio - [5] Reproducido en Truffaut, François: Las películas de mi vida , Bilbao, Mensajero, 1976, pp. 123-124. lencia: Apache (Apache, 1954) y Veracruz (Vera Cruz, 1954), y sobre todo a www.filmotecadeandalucia.es [email protected] Medina y Corella, 5. 14003 Córdoba CONSEJERÍA DE CULTURA Tel. 957 103 627. Fax. 957 740 016 Y PATRIMONIO HISTÓRICO.
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