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Eurotrash Jako Praktyka, Lektura I Kultura Filmowa

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Eurotrash Jako Praktyka, Lektura I Kultura Filmowa CZOWIEK I SPO ECZE PSTWO T . XXXIV – 2012 MAGDALENA KAMI PSKA EUROTRASH JAKO PRAKTYKA, LEKTURA I KULTURA FILMOWA. PRZYPADEK JESÚSA FRANCO – W tym filmie jest scena, w której kobieta gwa ci m E czyzn E. Tak, uzna em, e to b Edzie do \6 komiczne; widzowie bardzo si E \miali. S@dzi e\, e to subwersywne? – Subwersywne? Sk @d, po prostu usi owa em by 6 zabawny 1. ABSTRACT . Kami Qska Magdalena, Eurotrash jako praktyka, lektura i kultura filmowa. Przypadek Jesúsa Franco [ Eurotrash as a Practice, Reading Material and Film Culture. The Case of Jesús Franco] edited by M. Adamczak – „Cz owiek i Spo ecze Qstwo”, vol. XXXIV, Pozna Q 2012, pp. 131-149. Adam Mickiewicz University Press. ISBN 978-83-232-2518-8. ISSN 0239-3271. The article discusses Jesús Franco’s directing work as a film auteur ’s work . His oeuvre, which con- tains about 200 pieces, is often classified under the depreciating name of ‘paracinema’ or ‘eurotrash’. The author depicts Franco’s activity in the field of popular cinema (which is not to be mistaken for commercial cinema) as an incessant struggle with censorship. His style of filmmaking can be considered as symptomatic of a certain special moment in film history: the decade between the Hollywood studio system’s collapse and the video boom. This article shows how the so-called exploitation movies, which was Franco’s main area of activity, fructified with a new model of film reading and culture as well as new modes of production and cinematic practice. Magdalena Kami Qska, Uniwersytet im. Adama Mickiewicza, Instytut Kulturoznawstwa, Zak ad Bada Q nad Kultur @ Filmow @ i Audiowizualn @, ul. Szamarzewskiego 89 A, 60-568 Pozna Q, Poland. Dzi Eki talentowi Tima Burtona odpowied na pytanie o najgorszego re- ysera w historii kina \wiatowego brzmi dzi \ najcz E\ ciej: Ed Wood. Na ten tytu jednak bardziej zas uguje sze \6 lat m odszy od Wooda Jesús Franco. Jego nieprzyzwoicie obfita twórczo \6 skupia si E na tym, co w kinie i kultu- rze uwa ane jest za najni sze: erotyce i horrorze, w dodatku w ich najta Q- szym wariancie eksploatacyjnym, bardzo odleg ym od wzorców filmowej ________________ 1 C. Waddell, Jack Hill: The Exploitation and Blaxploitation Master, Film by Film , McFarland & Company, Jefferson 2009, s. 96. 132 Magdalena Kami Qska twórczo \ci artystycznej. W okresie najwi Ekszej zawodowej aktywno \ci twórcy Dziewicy w \ród ywych trupów (1971) krytycy filmowi rzadko zni ali si E do komentowania jego twórczo \ci, szersza publiczno \6 go nie zna a i nie chcia a pozna 6, gdy nudzi a si E na jego toporno-onirycznych filmach, a sprzedawa si E jedynie w w @skich kr Egach fetyszystów i ekscentryków. Z tego powodu takie arcydzie a kina eksploatacyjnego jak Sadystyczny baron von Klaus (1962) czy Mari-Cookie i zabójcza tarantula (1998) d ugo pozostawa- y praktycznie nieznane globalnej widowni. Jednak od lat 90. ubieg ego wieku mno @ si E coraz liczniej „frankofile”, „pozostaj @cy we franko Qskim stanie umys u” 2 fani „najdziwniejszego re ysera \wiata”, tworz @cy liczne sajty po \wi Econe archeologii jego twórczo \ci. To specyficzna grupa, której – oprócz rynku video lat 80. – zawdzi Ecza wi Ekszo \6 swej dzisiejszej s awy tak zwany przez wtajemniczonych „Wujek Jess” ( Tio Jess ), najwa niejszy „niewidzialny” kinematografii hiszpa Qskiej, „niepokonany auteur ”. W \wiecie angloj Ezycznym znany jest jako Jess Franco i pod tym nazwi- skiem najcz E\ ciej wyst Epuje w napisach czo owych filmów. Swoje praw- dziwe imi E uzna za zbyt szokuj @ce, by obnosi 6 si E z nim przed globaln @ publiczno \ci @. Ta ostro no \6 jest charakterystyczna dla ca ej jego postawy twórczej: mimo faktu, e \wiadomie zapracowa sobie na opini E skandali- sty, nigdy nie zamierza nikim wstrz @sn @6 zbyt powa nie. Jego filmy mog @ by 6 jednak nadal odbierane jako szokuj @ce, cho 6 ju z innych wzgl Edów ni czterdzie \ci lat temu. Urodzony 12 maja 1930 w Madrycie jako Jesús Franco Manera, jest autorem oko o dwustu niskobud etowych horrorów, thrille- rów, filmów science-fiction, erotycznych, „mi E\ niackiej epiki” ( muscleman epic ), filmów typu nazisploitation, slasher, zombie, nunsploitation, kanibali- stycznych, „sanda owych” ( peplum ), women in prison (WIP), musicali ( Queen of the Tabarin , 1961) i filmów szpiegowskich ( Lucky the Intrepid , 1966). Znany z ekscentryzmu smaku i szczególnej wra liwo \ci na wdzi Eki niskiej estety- ki, wywodzi si E jednak z kr Egów twórców kultury wysokiej. W \ród jego krewnych s @ prze \ladowany przez dyktatur E frankistowsk @ katolicki filozof Julián Marías Aguilera (szwagier), muzykolog i kompozytor Enrique Fran- co (brat), pisarz Javier Marías oraz re yser Ricardo Franco (siostrze Qcy) 3. Przysz y re yser by cudownym dzieckiem. Dzia alno \6 artystyczn @ rozpocz @ jako sze \cioletni kompozytor pod opiek @ brata Enrique. Po woj- nie domowej kontynuowa nauk E w Konserwatorium Królewskim w Mad- rycie w klasie fortepianu i akordeonu. Przez ca e ycie pozosta wielbicie- lem muzyki i kompozytorem, a tak e aktywnym muzykiem jazzowym. ________________ 2 Za: http://robertmonell.blogspot.com, data weryfikacji URL: 11.09.2011. 3 Zmar y przedwcze \nie w roku 1998 jeden z inicjatorów ruchu madryckiego kina nieza- le nego, ma o znany poza Hiszpani @, w Polsce by 6 mo e najbardziej z faktu, e zagra w Pepi, Luci, Bom i inne dziewczyny z dzielnicy Pedro Almodóvara (1980). Eurotrash jako praktyka, lektura i kultura filmowa 133 Uko Qczy prawo, studiowa równie j Ezyki i literatur E. Jako student pisywa dla zarobku groszowe powie \ci grozy i z Dzikiego Zachodu pod pseudo- nimem David Khune, który wykorzystywa równie w pó niejszej twórczo- \ci filmowej. Przez ca e ycie u ywa tak wielu pseudonimów, i aspiranci do statusu jego fanów bywaj @ zaskoczeni faktem, e „Jesús Franco” to prawdziwe nazwisko (jak sam z uciech @ podkre \la: „By em personifikacj @ Hiszpanii – i Caudillo , i Jezusem!” 4). W wywiadzie przeprowadzonym w 2001 przez Phila Halla i opublikowanym pod znamiennym tytu em Nie- pokonany auteur 5 re yser poinformowa , e stosowa tyle fa szywych na- zwisk, poniewa inni twórcy znienawidziliby go, gdyby si E dowiedzieli, jak szybko mo na pracowa 6, je \li si E tylko chce. Istotnie: w swoich najp odniej- szych latach kr Eci po sze \6 filmów rocznie, a w 1983 uda o mu si E nawet uko Qczy 6 ich dziesi E6 . W ci @gu pi E6 dziesi Eciu lat twórczo \ci stworzy oko o dwustu filmów, „z czego mo e trzy” – jak sam twierdzi – „s @ jako tako do zniesienia” 6. Niewykluczone, i jest to rekord \wiata, jednak trudno by oby zg osi 6 go do Ksi Egi Guinnessa, poniewa w wielu przypadkach udzia Franco w produkcji jest trudny do udowodnienia. W dalszej cz E\ ci tekstu powróc E jeszcze do tej kwestii, która ma zwi @zek z historyczn @ specyfik @ produkcji typu eurotrash . Na pocz @tku lat 50. XX wieku m ody Franco wst @pi do Madryckiej Szko y Filmowej ( Instituto de Investigaciones y Experiencias Cinematográicas ), równocze \nie pracuj @c jako re yser i aktor teatralny. Nauk E przerwa po dwóch latach i wyjecha do Pary a, by studiowa 6 re yseri E w Paryskim Instytucie Wy szych Studiów Kinematograficznych ( Institut Des Hautes Etudes Cinématographiques ). Tam zawar liczne znajomo \ci, które po powro- cie do Hiszpanii pozwoli y mu zatrudni 6 si E w produkcji filmowej. Napisa scenariusz Komediantów ( Cómicos , re . Juan Antonio Bardem, 1954) oraz pracowa przy dokumentach, na ogó krótkich metra ach przemys owych i kulturalnych tworzonych na zlecenie rz @du, takich jak na przyk ad Hisz- pa Qskie drzewo ( Arbol de Espa Qa, 1957) – samodzielny „ekscentryczny krótki metra o yciu i cudach drzewa oliwnego”. Zatrudnia o go wielu znanych hiszpa Qskich re yserów, g ównie przy produkcji oraz tworzeniu scenariu- szy i muzyki. Pracowa jako asystent re ysera mi Edzy innymi u Juan Anto- nio Bardema, Leóna Klimovsky’ego, Luisa Saslavsky’ego, Julio Bracho, Fer- nando Solery i Joaquína Luisa Romero Marchenta. Wspó pracowa w ten ________________ 4 Za: T. Pavlovi 8, Gender and Spanish Horror Film , [w:] Gender and Spanish Cinema , ed. by Steven Marsh and Parvati Nair, Berg, Oxford-New York 2004, s. 145. 5 P. Hall, Unvanquished Auteur , dost Epne poprzez: http://www.filmthreat.com/inter views/344/, data weryfikacji URL: 11.09.2011. 6 Za: B. White, The Sleazy World of Jess Franco , Jul 7 2009, dost Epne przez: http://www. soundonsight.org/the-sleazy-world-of-jess-franco/, data weryfikacji URL: 11.09.2011. 134 Magdalena Kami Qska sposób przy powstaniu oko o dwudziestu filmów. Zatrudnia si E równie w wytwórniach, np. w Ágata Films, jako scenarzysta i kierownik produkcji. W 1959 nakr Eci swój pierwszy samodzielny pe ny metra – psychologicz- no-spo eczny dramat o dojrzewaniu Mamy 18 lat ( Tenemos 18 a Sos ). W 1966 wraz z Orsonem Wellesem wyre yserowa Falstaffa 7, a tak e otrzyma nagrod E za najlepszy krótki metra hiszpa Qskoj Ezyczny, co uznano za za- powied przysz ej \wietnej kariery trzydziestoletniego ju re ysera. Prze- powiednie krytyków nie sprawdzi y si E: Franco nigdy nie do \wiadczy suk- cesu w artystycznym tego s owa rozumieniu. W tym okresie nawi @za znajomo \6 z grup @ wydaj @c@ opozycyjny ma- drycki magazyn filmowy Objetivo . Zainicjowana przez ni @ i salamankijski Cinema Universitario narodowa debata nad stanem kinematografii hiszpa Q- skiej uwie Qczy a kongres filmowy w Salamance, który odby si E wiosn @ 1955 roku 8. Prowadzono tam ogniste spory ideologiczne, cho 6 konkluzje – postulat „racjonalizacji” rz @dowych praktyk cenzorskich, czyli liberalizacji cenzury, a tak e zdobywania szerszej publiczno \ci dla filmu rodzimego poprzez wzrost realizmu produkcji filmowych 9 – mog y by 6 rozczarowuj @- ce dla uczestników. Bezpo \rednim skutkiem kongresu by o zamkni Ecie wspomnianego magazynu i wci @gni Ecie co bardziej aktywnych uczestni- ków spotkania na rz @dow @ czarn @ list E10 .
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