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The Sugarland Express (Spielberg 1974): Una Aproximación a Sus Hombres

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The Sugarland Express (Spielberg 1974): Una Aproximación a Sus Hombres THE SUGARLAND EXPRESS (SPIELBERG 1974): UNA APROXIMACIÓN A SUS HOMBRES AUTOR José Díaz-Cuesta CILAP, Universidad de La Rioja en Logroño (España) [email protected] El texto fílmico The Sugarland Express (Spielberg 1974), titulado en España Loca evasión, es encuadrado por Lester Friedman en su libro Citizen Spielberg (2006), atendiendo a la temática de las películas, dentro de aquéllas que pertenecen al género melodramático de acción y/o aventura. El director reconocía en 1988 que “I don’t think I’ve ever not made a melodrama” (Spielberg 1988: 13). Aquí, además, como ya sucedía en Duel (Spielberg 1971), se cruza con la road movie. Continuando la tarea de analizar las representaciones de masculinidades en toda la filmografía de este director (Díaz-Cuesta 2010, 2012), parece oportuno abordar ahora la obra que supone la primera incursión directa en el cine. Para el análisis de las representaciones de masculinidades en esta obra seguimos un método analítico-sintético que sigue los cuatro entornos o sites en los que Pat Kirkham y Janet Thumim (1993: 11) enmarcan las masculinidades en el cine: el cuerpo, la acción, el mundo externo y el mundo interno. En el cuerpo, Kirkham y Thumim distinguen entre el representado por la star persona del actor y el que se incorpora al personaje de la película en cuestión. En el caso de The Sugarland Express el protagonismo central lo ocupa una madre, Lou Jean Poplin (encarnada por Goldie Hawn), alrededor de la cual pivotan los hombres que se cruzan en su camino: su marido Clovis (William Atherton), el policía al que secuestran, Matthew Slide (Michael Sacks), y el capitán Harlis Tanner (Ben Johnson), sin olvidarnos del niño Langston (Harrison Zanuck). De todos ellos, el más conocido en el momento del estreno de la película, tal vez por su edad, era Ben Johson, que había representado al hombre duro del Oeste estadounidense en varias películas y series televisivas. En The Sugarland Express Clovis y Slide aparecen en diversas ocasiones como reflejo el uno del otro, una similitud buscada por el director, para quien el film retrata “two men who really began in the same small town, and went into different directions” (Baxter 1996: 104). Algo que, con el paso del tiempo, volvería a suceder en gran medida en Schindler’s List (Spielberg 1993), pero allí llevándolo a extremos de desconcertantes bondad y maldad (Díaz-Cuesta 2005-2006). La acción que mejor representa a estos dos últimos hombres es la de conducir (siguiendo la estela de David Mann en Duel), a pesar de que en realidad quien les conduce a ellos es Lou Jean. En el mundo externo, la familia y la policía constituyen las dos instituciones más señaladas por el film. En el primer caso los hombres están supeditados a Lou Jean, y en el segundo Tanner encarna una figura paterna que posteriormente sería incorporada por el Hal de Harvey Keitel en Thelma y Louise (Scott 1991). El mundo interno, como suele ser habitual, es el más difícil de aprehender. Tras haber recorrido los entornos anteriores, parece que, salvo por Tanner, estos hombres aún no saben qué lugar les corresponde ocupar. Palabras clave: The Sugarland Express - Loca evasión - Steven Spielberg - Masculinidades - Análisis textual .
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