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A C Ritical H Istory of a M Erican C In

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A C Ritical H Istory of a M Erican C In TÍTULOS PUBLICADOS Diné: La historia de los indios Apaches 8 Speches of Obama 8 discursos de Obama Antàrtida: La vida al límit Historia crítica del cinema norteamericano A Critical History of American Cinema A Critical History American of Cinema 4 HISTORIA CRÍTICA DEL CINE NORTEAMERICANO A Critical History of American Cinema J. M. Caparrós Lera Edita: Fundació Institut d’Estudis Nord-americans Traducció: Martin Van Der Neut Impressió: DEC Dipòsit legal: B-15006-2013 Edició no venal ÍNDICE Preface. Robert M. Manson _____________________________________________ 5 Hemos tenido suerte. Por Jorge Setoain __________________________ 7 Prólogo. Por Susanna Tavera ___________________________________________ 9 Introducción ____________________________________________________________________ 11 I. CINE CLÁSICO 1. Los orígenes del Séptimo Arte _________________________________________ 17 2. Edison y los otros inventores. Expansión del cinematógrafo _________________________________________________________________ 21 3. Griffith y los pioneros norteamericanos. The Birth of a Nation ________________________________________________________ 29 4. Chaplin, Keaton y el film burlesco. Modern Times __________ 38 5. Hollywood, la gran Meca del Cine. Cecil B. De Mille. Gone With the Wind. David O. Selznick. _________________________ 47 6. Nacimiento del sonoro. Singin’in the Rain _______________________ 63 7. Cine de género. El maestro John Ford. Stagecoach __________ 71 8. King Vidor, George Cukor y Frank Capra. It’s a Wonderful Life! ________________________________________________________ 83 9. Star-system y los Oscar. William Wyler. The Best Years of Our Lives ______________________________________________ 97 10. Los maestros Raoul Walsh y Billy Wilder. Sunset Boulevard ______________________________________________________________ 107 11. El thriller: cine “gang” y “negro”. Howard Hawks. Casablanca _______________________________________________________________________ 117 12. La “caza de brujas”. Fred Zinnemann. High Noon ___________ 129 13. Un genio llamado Orson Welles. Citizen Kane ________________ 139 4 14. Supervivencia de Hollywood, TV y gran pantalla. Nicholas Ray. Rebel Without a Cause ______________________________ 145 15. Alfred Hitchcock, el “mago del suspense”. Vertigo ______________________________________________________________________________ 157 II. CINE MODERNO 16. La “generación perdida” estadounidense. Richard Brooks y Sam Pekinpah _____________________________________ 167 17. El maestro John Huston. The Misfits _______________________________ 177 18. Robert Mulligan. To Kill a Mockingbird __________________________ 185 19. John Frankenheimer. Seven Days in May ________________________ 193 20. Los inmigrantes: Elia Kazan. America, America _____________ 201 21. Renovación de los géneros: Robert Wise. West Side Story _________________________________________________________________ 211 22. El maestro Stanley Kubrick. 2001: A Space Odyssey ________ 219 23. El fenómeno underground. John Cassavetes. Gloria _______________________________________________________________________________ 227 24. Nuevo cine norteamericano: George Lucas. Star Wars _________________________________________________________________________ 237 25. Francis Coppola. La trilogía de The Godfather ________________ 247 26. Steven Spielberg. Raiders of the Lost Ark _________________________ 257 27. Films Off-Hollywood: Woody Allen. The Purple Rose of Cairo __________________________________________________ 267 28. Joel & Ethan Coen. Barton Fink ______________________________________ 281 29. La nueva Meca del Cine: Arthur Penn y Martin Scorsese. The Age of Innocence __________________________ 289 30. Oliver Stone. JFK. Falling Down ______________________________________ 305 Bibliografía ___________________________________ 317 Oscar de Hollywood (1928-2000) __________________ 325 English translation _____________________________ 331 5 PREFACE It is an honor for the “Institut d’Estudis Nord-Americans” to pu- blish Professor Josep Maria Caparrós’s lectures and related discussions of the films chosen for the two Series of American Films, screened in the Institute’s Theater between 2012 and 2013. Professor Josep Maria Caparrós is not only an expert but also an enthusiast of American cinema, and has a wonderful ability to convey this passion to all who have the pleasure of hearing his comments and participate in the discussion following each session. This Series continues as part of a project begun by the IEN in the 1970’s to present expert discussion of original versions of great Ameri- can films to the Barcelona public. Previous Series have focused on Silent movies, Animated film, Comedy, Musicals, the early works of Science Fiction and of course films featuring the great actors and actresses from Hitchcock to Orson Wells. I would like to thank the University of Barcelona for its collabo- ration with these Series and particularly and very especially Professor Josep Maria Caparrós, for his extraordinary dedication to this very spe- cial and very American medium of communication. Robert M. Manson President Introducción 7 HEMOS TENIDO SUERTE El Institut d’Estudis Nord-americans (IEN) y la Universitat de Barcelona (UB) han organizado un ciclo de cine clásico Norteamericano. Hemos tenido suerte, el Presidente de la Fundación, Sr. R. Manson, y el Director de la misma, Sr. Carlos Domingo, tuvieron el acierto de organizar estos cursos. El primero se desarrolló con 15 películas desde el mes de Febrero hasta el 31 de Mayo del 2012, y el segundo curso durante este año 2013. Hemos tenido suerte de contar con la colaboración y dirección de los cur- sos, a cargo del Profesor de Història Contemporània i Cinema de la UB, Josep M. Caparrós Lera. Hemos tenido suerte de poder presenciar extraordinarias películas que en el primer ciclo abarcaba desde los orígenes hasta 1958. Este año, se ha cubierto el periodo de 1959 hasta el año 2000, es decir, el cine moderno, y reservamos para el próximo año el cine contemporáneo, del 2000 al 2012. En los orígenes, quiero destacar la magnífica exposición de los problemas técnicos que superaron los hermanos Lumière y Thomas Edison, vencien- do los problemas físicos que se presentaban al inicio del cine. La prime- ra película presentada del pionero Griffith, The Birth of a Nation es un éxito tecnológico teniendo en cuenta los medios del momento. Dudo que Spielberg hubiese superado el realismo de las imágenes de la batalla entre Sudistas y Yankees. Hemos tenido suerte de poder disfrutar de esta sesión. El Profesor Josep M. Caparrós ha sido el artífice de este curso. Su gran conocimiento del tema, así como la selección de las películas programa- das y su disertación previa, exponiendo las características de los directo- res responsables de estas obras de arte, su implicación social, su ubicación Introducción 8 temporal en los problemas económicos de cada momento, los problemas raciales siempre presentes en las películas americanas, nos han hecho dis- frutar y por tanto, hemos tenido suerte. Hemos tenido suerte de participar en los coloquios que se han celebrado al final de cada sesión. Alumnos de la Universidad, que por asistir a este curso con aprovechamiento, disfrutarán de créditos, facilitando una rese- ña de cada sesión. Estos coloquios han puesto de relieve la elevada forma- ción de muchos de los asistentes. Gracias a ellos y con la participación del Profesor Caparrós, nos han puesto de manifiesto pequeños detalles que nos hubiesen pasado desapercibidos y que han sabido captar la inquietud de los directores en temas puntuales y concretos, que reflejaban el sentir y la problemática socio-económica de Norteamérica. Como he repetido reiteradamente, hemos tenido suerte de que se hayan organizado estos cursos y el haber podido participar en ellos como un simple oyente pero aficionado al séptimo arte. Esperamos con ilusión el próximo curso ya que estoy seguro de que seguiremos teniendo suerte. El Libro que recoge las películas presentadas, así como algunos de los co- loquios, es un fiel reflejo del contenido del curso. Hemos tenido suerte de poder publicarlo y divulgar estas dos etapas del cine Norteamericano. Reiteramos nuestro agradecimiento al Institut d’Estudis Nord-americans. Por todo ello, HEMOS TENIDO MUCHA SUERTE. Jorge Setoain Quinquer Mayo 2013 9 PRÓLOGO Desde que le conocí hace ya muchos años, en 1989, el apa- sionamiento de José Maria Caparrós por el cine ha sido el ele- mento clave a la hora de explicarme su dedicación profesional en exclusiva al estudio de su historia. Ahora, cuando leo su Histo- ria Crítica del Cine Norteamericano, el libro que prologo, es este apasionamiento incondicional el que me sirve para explicarme su contenido y perspectiva, lo que Caparrós pretende encerrar en su título bajo la denominación “crítica”. Y no puedo menos que son- reír cuando compruebo que este apasionamiento es el que le lleva hasta el territorio de lo que aquí llamaré un entusiasmo cinema- tográfico casi “fundamentalista”: el de que el arte fílmico casi se intuía en la prehistoria y que Euclides casi encontró la manera de reproducir el movimiento en imágenes. Puede que la inspiración consiguiera milagros pero si el lenguaje basado en la reproducción en imágenes ha conseguido el universalismo éste se ha ceñido al tempus contemporáneo y a entornos tan determinados como los de las sociedades de masas. Y, sin embargo, el universalismo del lenguaje cinematográfico es en los textos de Caparrós una afirma- ción constante. Habla de cine, se dedica
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