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She's Funny That

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She's Funny That Associació Cultural Granollers Divendres 19 de febrer / 19 i 22 hores 2016 Diumenge 21 de febrer / 19 hores Centre Cultural de Granollers She’s Funny that Way (Lío en Broadway) de Peter Bogdanovich Versió original en anglès subtitulada Fitxa tècnica Fitxa tècnica Guió: Peter Bogdanovich, Louise Stratten / Direcció: Peter Owen Wilson, Imogen Poots, Jennifer Aniston, Bogdanovich / Música: Ed Shearmur / Fotografia: Yaron Will Forte, Cybill Shepherd, Rhys Ifans, Lucy Punch, Orbach / País: EUA / Any: 2014 / Durada: 93 minuts Eugene Levy, Tatum O’Neal, George Morfogen, Debi Mazar, Jake Hoffman, Joanna Lumley, Kathryn Hahn SINOPSI. Arnold té una vida perfecta. Feliçment casat, dos preciosos fills i una magnífica feina com a director teatral a Broadway. Tot canvia quan contracta els serveis d’Izzy, una jove i prometedora actriu, que alterna la seva discreta carrera artística amb serveis nocturns de companyia. L’amor és tan profund que Arnold decideix ajudar-la econòmicament perquè es centri en el món de la interpretació. El pla es torna en malson quan Izzy aconsegueix un paper en l’obra que dirigeix Ar- nold, en què també participa la seva dona i que es converteix en un trio impossible, amanit amb divertidíssims personatges que converteixen l’obra i les seves vides en una espurnejant comèdia. EL DIRECTOR. Peter Bogdanovich (Kingston, Nova York, 1939) és fill d’una parella d’immigrants que van fugir dels nazis. Originalment actor en els anys cinquanta, va estudiar amb la llegendària professora Stella Adler. A principis dels anys seixan- ta, va adquirir notorietat en programar diverses pel·lícules en el museu MOMA de Nova York. Cinèfil obsessiu, havia arribat a veure 400 pel·lícules a l’any en la seva joventut. Va escriure diferents estudis sobre directors de cinema. Roger Corman li va proposar un treball de director i van rodar, l’any 1968, l’aclamada Targets i Voyage to the Planet of Prehistoric Women. De tornada al periodisme, va conèixer Orson Welles sobre qui publicaria anys després el llibre This is Orson Welles (1992). El 1971, Bogdanovich va ser aclamat per la crítica com un “wellesià” nen prodigi quan es va estrenar el seu film més cèle- bre: The Last Picture Show que va rebre vuit candidatures als Oscar. Juntament amb Francis F. Coppola i William Friedkin, crearen The Directors Company, amb un generós acord de producció amb Paramount Pictures, que bàsicament donava als directors carta blanca mentre es cenyissin al pressupost. Va sorgir així Paper Moon (1973). Forçat a compartir els be- neficis amb els seus col·legues directors, Bogdanovich va quedar insatisfet amb el tracte. D’aquesta manera, The Directors Company solament produiria dues pel·lícules més: The Conversation (1974), de Coppola, i Daisy Miller (1974), de Bogdano- vich. Aquesta darrera va tenir crítiques molt dolentes, que seguiren amb el musical At Long Last Love (1975). Nickelodeon (1976), Saint Jack (1979) i They All Laughed (1981) tampoc van tenir massa èxit. En aquest darrer film, ell es va enamorar de Dorothy Stratten, però ella va ser assassinada pel seu marit quan li va dir que marxava a viure amb Bogdanovich. Destrossat anímicament va tardar uns anys a intentar refer la seva carrera amb uns films tan interessants com poc reconeguts: Mask (1985), Texasville (1990), Noises off (1992), The Thing Called Love (1993) i The Cat’s Meow (2001). Fins arribar a She’s Funny that Way, havia aparegut a les series The Sopranos i Out of order. CRÍTICA En sus días de máxima fertilidad creativa, Peter Bogdanovich, cinéfilo pertinaz, homenajeó a la comedia americana desde todas sus variantes: la “screwball comedy” al estilo Hawks (“¿Qué me pasa, doctor?”), la blanquinegra comedia de la Gran Depresión (Luna de papel), la comedia cómica muda (Nickleodeon), la comedia musical (At long last love), la comedia sofisticada modalidad Donen y/o Edwards (Todos rieron), el vodevil teatral (Noises off) ¿Pero la carrera de Bogdanovich, paradigma del neoHollywood de los setenta con Coppola, Scorsese, Allen y otros maestros, se desinfló de repente. Los telefilmes rutinarios se convirtieron en su salvavidas profesional, con muy puntuales retornos al cine. En nuestros cines no se estrenaba una película suya desde junio de 1994: Esa cosa llamada amor, otra comedia muy personal. ¡Más de veinte años sin Bogdanovich! Lío en Broadway, su feliz retorno a la gran pantalla, es a la vez “screwball comedy” tradicional y vodevil teatral, aunque su guión es original y lo firman Bogdanovich y Louise Stratten, hermana de la trágicamente fallecida Dorothy y esposa del cineasta entre 1988 y 2001. Todo es clásico en Lío en Broadway: un macroenredo sentimental entre una fauna neoyorkina, con el mundo del cine y el teatro en la trama y escenas tan típicas como el embarazoso y accidental encuentro de todos los personajes en un restaurante, una escena mil veces vista, como casi todas las demás, pero que funciona de maravilla por el milimetrado sentido del ritmo, por la elegancia de la puesta en escena, por el “charme” irre- sistible y por el carisma de un conjunto de actores perfecto, de la potente Imogen Poots (en el delicado papel de puta y estrella), al siempre eficaz Owen Wilson, pasando por una efervescente Jennifer Aniston que nunca ha estado mejor y secundarios muy afines a la galaxia Bogdanovich: Austin Pendleton, Cybill Shepherd y una vista y no vista Tatum O’Neal. Con sorpresa final (un director muy popular) y una frase de una comedia de Lubitsch como brillante leitmotiv. Jordi Batlle Caminal / La Vanguardia Nadie negará la maestría en el ejercicio de la comedia. No todos los directores saben el momento en el que estallarán las carcajadas en la platea, ni el punto exacto en el que hay que cambiar de escena: un segundo más puede resultar fatal para alcanzar el efecto cómico que se pretende. El arte de la comedia no tiene secretos para Bogdanovich, así que si usted aspi- ra a reírse con el arte de un profesional del género, esta opción es, en estas semanas, la más acertada. De hecho, veintitrés años después, ‘Lío en Broadway’ nos lleva por derroteros muy parecidos a los trillados en ‘Qué ruina de función’. En ambos casos estamos ante verdaderos vodeviles, tratados con la técnica del vodevil (puertas que se abren y se cierran, por las que entran y salen de manera trepidante los personajes, escenas equívocas, hilaridad incontenible, situaciones absurdas). No es una técnica fácil. En una comedia, las situaciones cómicas deben fluir de manera natural, y en un vodevil la tensión y los equívocos son el acompañamiento imprescindible. La carcajada y la sonrisa deben alternarse sin que existan momentos de relajación o el espectador tenga tiempo de mirar la hora o pueda, aun necesitándolo, irse al lavabo. ‘Lío en Broadway’ tiene todo esto y por eso merece verse. Se alegará quizás que ‘Lío en Broadway’ no aporta nada nuevo al género de la comedia. ¿Y qué debería aportar? ¿puede añadirse algo más a la fórmula que crearon Lubitsch, Wilder o Hawks a mediados de los años 40? Si cambiamos el arroz de una paella por garbanzos el resultado será diferente —y desde luego, nunca el espe- rado— por muy creativo que pueda ser. No, ‘Lío en Broadway’ responde a los estándares de la comedia de los años 40, y la delgada línea que separa la mala copia del producto bien terminado radica en la maestría del director. Precisamente, el mérito de esta comedia —como en su película precedente, ‘¡Que ruina de función!’— es atenerse a los patrones que hicieron reír a los espectadores en los años 40 y que, probablemente, cuando termine este milenio sigan haciendo reír a lo que quede de humanidad en el planeta. Se ha dicho que esta película podría haber sido filmada por Woody Allen y, efectivamente, en algunas escenas esa impresión es más acusada. Ambos son profundos conocedores de la historia del cine. Ambos, conscientes de que es imposible encontrar fórmulas nuevas que convenzan a los espectadores, se vuelven cada vez más clasicistas: una y otra vez tratan de realizar un retorno a los primeros pasos del género, quieren entroncar sus producciones con la “tradición”. Más que “originales”, su tendencia es a ser “originarios”. Y en esta película Bogdanovich lo consigue. Si usted quiere ver algo nuevo, nunca visto hasta ahora, un ejercicio de originalidad y la exploración de nuevos caminos para llegar a la carcajada, esta película le decepcionará. Pero si quiere reírse con aquello mismo con lo que se han reído sus padres y abuelos y con lo que, indiscutiblemente, se reirán sus nietos, esta es su película. Amor Díaz Boyero. El Cine en la sombra PROPERES SESSIONS 26 i 28 de febrer: Ilo Ilo (Retratos de familia, 2013), d’Anthony Chen 4 i 6 de febrer: A Perfect Day (Un día perfecto, 2015), de Fernando León de Aranoa Dimarts Singulars. 23 de febrer: The Last Picture Show (La última película, 1971), de Peter Bogdanovich Associació Cultural Granollers EN CONVENI AMB: Almogàvers, 5 [email protected] 08401 Granollers www.acgranollers.cat T 93 861 55 98 @ACGranollers F 93 844 30 28 AC Granollers.
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