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Alberto Cavalcanti

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Alberto Cavalcanti una carrara ALBERTO CAVALCANTI EN EL CAPÍTULO IX DE SU LIBRO FILME E REALIDADE (SAO Paulo, 1953) escribe Alberto Cavalcanti: "Siempre que un joven entu­ siasta insiste en que vea uno de sus films, clasificado ingenuamente por él mismo de experimental, mi aceptación está siempre llena de reservas y me ha conducido invariablemente a la misma pregunta: / Experiencia de qué? Los realizadores de esos films experimentales me hacen acordar a los niños que, viendo a los hermanos mayores comentar sus lecciones de química, se proveen de un inquietante espíritu de pesquisa y en una vasija juntan vinagre, agua de colonia, gasolina y, a veces a falta de otro ingrediente, adicionan cierto líquido de producción personal E : rienda sin finalidad determinada no es experiencia,” Precisamente, ese calificativo que él pare­ concepción estética con el interés del púhlí&u, ce usar con tanta moderación —film experi- algo se cruza en su camino. En Francia fué lá .m ental.... es el que convendría mejor a gran invención del sonoro que 3o arrancó de sus ■parte de su obra- Iniciada a fines del cine poéticos films mudos para convertirlo en fa ­ mudo en la avaní garúe francesa, incorporada bricante de vaudevilles teatrales; en Inglaterra a la renovadora escuela del documental bri­ fué la separación de Ealing Studios, que lo tánico, ensanchada por algunas producciones envolvió en la filmación de melodramas más comerciales de esta post-guerra, la obra de o menos prefabricados. Pero cada una de esas Alberto Cavalcanti es un ejemplo de incesante caídas en la producción comercial obligan a e infatigable experimentación. Cuando film a­ Cavalcanti a un nuev- esfuerzo < ” Oa nueva ba Ríen que les heures (1928) inaugurando la etapa. Porque de le produe . ,. ral del serie de sinfonías ciudadanas, cuando ensa­ sonoro consiguió salta»- al e ')<■>' >- » -tienta] yaba "con En Rade (1927) la poesía de los de John Grierson y ios m <• uat , - Bare• tem as populares!, cuando en Pett and Pott tos a la reorganizáció -le1 . ■<- orasil « Co­ (1934) jugaba con las recién descubiertas po­ mo él mismo indica t ■ ■ ■ , citadc U sibilidades del cine sonoro, cuando The First a su obra hay que p >"> rse por la - • )n Daiis (1939) captaba la atmósfera tensa y res­ de ser de esta carrera m .otable en rea+ -- ponsable de los primeros días de la guerra clones como notable e - allibaj •. esa se* .» en Londres, cuando Dead of N ight (Al moril­ de etapas logradas y »• udonad's, „sa expe­ la noche, 1946) incorporaba al cine comercial rimentación a que su p pm af;‘. 1 destino una depurada técnica de vanguardia, Caval­ lo tienen sometido. canti estaba experimentando. Ahora en el Bra­ sil (su tierra natal desde 1897), Cavalcanti la llamada avá'nf garde emprende un tipo nuevo de experiencia: la La primera etapa es Francia en la tercera, organización del caos, la formación de un cine década del siglo, cuando surge la. avant-garde, nacional, capaz de producir películas que re­ Cavalcanti cree inadecuado el calificativo:1 flejen la realidad brasileña (superficie y pro­ “Personalidades completamente diferentes, no fundidad) y sean, al misino tiempo, de hechu- seguían una orientación común. La critica in­ ■• ra internacional. ventó que éste grupo formaba una escuela: la Debajo de ese afán experimentador, de esa “Avant-Garde”, Esta idea, como la denomi­ necesidad de ensanchar siempre los límites de nación, era falsa. La 'poesía era uno de ios un arte en formación, hay algo que no se ex­ factores dominantes en sus film s, como en los plica solamente por los azares de una carrera de Meliés. En un desorden y una desunión in­ en que el destino parece empeñado en probar creíbles, la llamada “Avant-Garde” consiguió al hombre. Cada vez que Cavalcanti logra enunciar el importante hecho dé >que el film asentarse en una cinematografía y empieza a era un nuevo medio de expresión y que, como producir obras que equilibran una exigente tal, tenia características propias,” Yvtdit t')927), librivi)! bas ado en asun- la o b r a 1o de G ¡¡y de M au.oussunt. Cou O a- Vous Yevïêz ■ lu semaine -pïâêhaine Li.OiiTï.> Hessling, Thomy Bourdelle. (i,92y;. Con. C, .HessHng, .Jean Re­ noir. DECORANO»: En Rade (192';, sMrre argumonto pro- . pio ; libroio junte» con Philippe Hériot, Toute Aie 0 9 3 0 ). S on -MftreeHe. Ressarreeiion ,*922); i/l nh n in y. ine Claude Heymunn. Con C. Hessling. Chantal, Fernand Fabre, pierre Ri­ ( 1928-24; jnuto con Mailei-Sievezìs. Nathalie Lissenko. G. Charlie, Philip­ chard hWiüm. Fernand ITger, Autant-Lara ; La Ga­ pe H é ria t. le rie des M onstre?- 1192-1) ; l'e u M a­ A eançao .-êo hereo tl§3ô). Version thias; Pascal g!92 4-25 * ; realiza eio n -'s La P’tiie Lilie (1927), sobre argumen­ porluguesa del anterior. Con Corina d e M arcel L ’H e rb ie r. te propi'.s. Version sonera con mus ica F re ire, R aul -Je Carvalho. L’inondation (1924), de Louis Dei)ne ; de Darius Milhaud. Con C. Hessling, Le Petit Monde (1925', de George Jean Renoir, A mi-cheîttm ¡du .ciel'..’ (1930), Con Beat son. K. .Rivero, Marguerite Moreno. La Jalousie du Barbouillé (1927). h- Lre-io sobre una fa rsa de Molière. Con Le» vacances da diable (10S.0.L, Coh Jeanne Helblingr, Philippe Horiat. Marcelle Chantal, T. 'Bourdelle>: Pie­ REALIZADOR: rre Richard Willm. Le Capitaine Fracasse (1928), îibveto L e T ra in sam> Y eux í U‘25-2'';'», so­ basado en no-eïa de Théophile Gau­ Dans «ne Ile perdue (1981), a .gu-: bre novela de Louis Del fue. Con Gina thier, Con Pierre Blancbar, Lien IV.- mento Je G- Neveux, sobre “Victory" Manes. (Jeorges Charlia, yevs, Charles Loyer, de Joseph Conrad. Con. Bahie!-:- Po.*y rola, Marguerite Moreno* Ríen que les Henees s obre Le Petit Chaperon Rouge 0.929), so­ argumento propio. Con Clifford Me bre argumenta propio. Mûsk-a, Mau­ En lisant le Journal (Ï932L Sketch Laclen. Nina Chouvalowa. rice Jauberi* còmi so con René. Dorin. film I f 4 Es precisamente esa acentuación de las cua­ lidades especificas clel nuevo medio lo que da su rasgo común a toda la obra del período y lo que justifica, así sea laxamente, la califi­ cación de vanguardia. Pero Cavaleanti, que vivió esa hora y que >en ella creó alguna obra importante, está demasiado cerca para no ad­ vertir: los rasgos diferenciales, para no subra­ yarlos. con notable franqueza y nitidez. Para Cavaleanti, los vanguardistas se .agru­ pan en tres núcleos, de tendencias diferentes. “El primero, que probablemente dió nombre al movimiento, estaba formado por los que te­ nían como preocupación principal hacer films En Rods (mi) que llamaban “puros”. Su receta era de una simplicidad infantil; no contar ninguna histo­ ria, no colocar la cámara en posición normal, logias, de comparaciones y de metáforas. “La dividir cada toma en porciones minúsculas, fille de l’eau”, “Mcnilmontant”, “Paris qui usar cierto número de ellas “cabeza abajo"; y dort”, “.Fait divers”, “En rade” son los films por último “sazonar” iodo con algunos trozos más representativos de este grupo y también de negativo. Algunas cinematecas todavía po­ del movimiento. seen “A quoi rêvent les jeunes filles", del “El tercer y último núcleo, que nació Conde de Beaumont, en colaboración con Hen­ cuando los dos primeros ya estaban en plena ri Chomette, hermano de René Clair, y el “Ba­ actividad, derivaba de la escuela superrealista llet Mécanique”, de Fernand Léger, las dos que los reconoció oficialmente y se componía mayores victorias de los exponentes del film de Man Ray y Buñuel-Dalí. De las mismas “absoluto”. tendencias, pero repudiados por los superrea- “El grupo intermedio, formado por Renoir, listas con un desprecio que muchas veces se Epstein, Kirsanov, Grem ilion, Clair. Autant- expresaba en ataques físicos, agresiones y toda Lara y yo mismo, tenía por preocupación con­ clase de violencias, estaban Germaine Dulac tar una historia usando al máximo, c.on una y Jean Cocteau. Los films nuis notables de libertad que el público consideraba revolucio­ todo el grupo son “L’étoile de mer”, “Le chien naria, los medios de expresión cinematográfi­ andalou”. “La coquille et le clergyman” y “Le cos, llegando a extremos en la elección de ana- sang d’un poète.” Le jour du frotteur (.1982), Con Gi­ New Rates (1934). Prod. G. P..O, Alice in Switzerland (19421. E n G as- lles et Julien. parcolov, Argumento, Daniel Simond. Line to Therva Hut (1937). G. P, O, Revue Montmartroise (1982), Con Re­ en colaboración eon el gobierno suizo. né Derin, Paul Colline. W ent the Day Well (1942). ICaiing-Mi- Música, Benjamín Britten, chel Balcon: sob re una obra de Gra­ ham Greene. Con Leslie Banks, Basil Nous ne ferons jamais, de cinéma W e Uve In tw o w orlds (1937). G.P.O. B'idii.ey. (19821. Con H. Dorin, P. Colline. suizo. Argumento, Priestley. Música, M. J&ubért. W atertight (4343!. EaUrig-Royal Na­ Le truc du brésilien (1932). Con Ro­ vy. bert Ârnoux. Who Writes to Switzerland (1937), G. Champagne Charlie. (1944). Ealing, Le mari garçon (1932), Con Jeanne P. O. suizo. eon Stanley Holloway, Jean kent. Gheireï. Message from Geneve (1937). G. P. O. Coralli- et <*ie (1033). Con Josette suizo. Dead of Night (1945). Ealing. T>iree- JDay, F rançoise Res a y. eion junto con Robert Hamer, Char­ F o u r B arriers (1987 }. G. P. O. suizo. les Crichton, Easily Bearden. Con Mi­ chael Redgrave. <A1 morir la noche.) Plaisirs défendus (1933). Con Germai­ Men of the Alps (1939). G. P. G. suizo. ne Safeion.
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