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Prancha 13 – Nuit Et Brouillard (Alain Resnais, 1955)

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Prancha 13 – Nuit Et Brouillard (Alain Resnais, 1955) Figura 46 Figura 51 Figura 56 Figura 47 Figura 52 Figura 57 Figura 48 Figura 53 Figura 58 Figura 49 Figura 54 Figura 59 Figura 50 Figura 55 Figura 60 Prancha 13 – Nuit et Brouillard (Alain Resnais, 1955) Figura 61 Figura 66 Figura 71 Figura 62 Figura 67 Figura 72 Figura 63 Figura 68 Figura 73 Figura 64 Figura 69 Figura 74 Figura 65 Figura 70 Figura 75 Prancha 13 – Nuit et Brouillard (Alain Resnais, 1955) Figura 1 Figura 6 Figura 11 Figura 2 Figura 7 Figura 12 Figura 3 Figura 8 Figura 13 Figura 4 Figura 9 Figura 14 Figura 5 Figura 10 Figura 15 Prancha 14 - Obyknovennyy fashizm (Mikhail Romm, 1965) Figura 16 Figura 21 Figura 26 Figura 17 Figura 22 Figura 27 Figura 18 Figura 23 Figura 28 Figura 19 Figura 24 Figura 29 Figura 20 Figura 25 Figura 30 Prancha 14 - Obyknovennyy fashizm (Mikhail Romm, 1965) Figura 31 Figura 36 Figura 41 Figura 32 Figura 37 Figura 42 Figura 33 Figura 38 Figura 43 Figura 34 Figura 39 Figura 44 Figura 35 Figura 40 Figura 45 Prancha 14 - Obyknovennyy fashizm (Mikhail Romm, 1965) Figura 1 Figura 6 Figura 11 Figura 2 Figura 7 Figura 12 Figura 3 Figura 8 Figura 13 Figura 4 Figura 9 Figura 14 Figura 5 Figura 10 Figura 15 Prancha 15 – Histoire(s) du cinéma: 1a. Toutes les histoires (Jean-Luc Godard, 1988) Figura 16 Figura 21 Figura 26 Figura 17 Figura 22 Figura 27 Figura 18 Figura 23 Figura 28 Figura 19 Figura 24 Figura 29 Figura 20 Figura 25 Figura 30 Prancha 15 – Histoire(s) du cinéma: 1a. Toutes les histoires (Jean-Luc Godard, 1988) 171 4. RearQuivamento ficcional: o arquivo revisitado 4.1. Pensar o horror: The Big Red One (1980/2004), de Samuel Fuller Rever os campos, isto é, olhar novamente o arquivo de suas imagens e do horror que representam é o que não cessou de fazer Samuel Fuller, em sua obra diversa, em cujo cerne estão as memórias de sua participação na Segunda Guerra Mundial. Quando Samuel Fuller encenou e montou a sequência de The Big Red One (1980/2004100) em que os soldados da 1ª Divisão de Infantaria dos Estados Unidos chegam ao campo de concentração de Falkenau, na Checoslováquia, em maio de 1945, seu modo de encenação e sua montagem estabelecem um jogo de campo e contracampo que privilegia os rostos e os olhares como fundamento da expressivi- dade dramática que o filme atribui ao encontro entre soldados e sobreviventes [Pran- cha 8]. O momento do encontro demarca uma mudança de ritmo na trama: o ritmo mais intenso da representação da guerra e a velocidade dos movimentos – dos corpos e dos objetos no interior dos planos, do enquadramento dos planos e da montagem entre os planos – cede lugar à redução radical dos movimentos dos corpos e dos objetos, associada ao recurso ao jogo de campo e contracampo. Após um plano da batalha vista através do fogo [Prancha 8 – Figura 4], cuja densidade simbólica reenvia ao sentido literal do conceito de Holocausto101, três pla- nos repetem o mesmo movimento duplo: em primeiro lugar, no interior de cada plano, o movimento de abertura de uma porta, a cada vez, pelos soldados Zab, Griff e John- son; em segundo lugar, no enquadramento de cada plano, um rápido movimento de aproximação (zoom in) em direção aos rostos de cada personagem, delimitando uma espécie de tríptico de olhares diante de um horror ainda invisível [Prancha 8 – Figuras 5, 6, 7, 8, 9 e 10]. A repetição dos planos e de seu duplo movimento estabelece uma expectativa em relação ao contracampo, que a economia da montagem reserva para o plano seguinte ao tríptico dos rostos e no qual se adivinham, na escuridão, as feições de pelo menos cinco rostos anônimos, que pertencem aos prisioneiros do campo 100 O filme foi lançado em uma versão de menor duração em 1980 e, depois da morte de Fuller, em 1997, o filme foi reconstruído de acordo com as concepções do diretor e relançado no Festival de Cannes de 2004. 101 A palavra “holocausto” remonta a uma origem grega, ὁλόκαυστος (holókaustos), cujo significado articula dois sentidos: ὅλος, “todo” e καυστον, “queimado”. 172 [Prancha 8 – Figuras 11, 14, 15 e 16]. O jogo de campo e contracampo continua nos planos seguintes, em que a passagem entre o olhar dos soldados e o olhar dos so- breviventes, que promove a unificação do espaço fílmico por meio da combinação das linhas de olhar, estabelece um jogo ambivalente e indecidível de contraposição e de identificação, em cujo cerne está a questão da semelhança entre seus rostos, apesar do abismo que os separa [Prancha 8 – Figuras 12, 13 e 17]. O olhar é uma das possi- bilidades que restam de construir pontes sobre esse abismo da dessemelhança. Em The Big Red One, Fuller representa o campo, em primeiro lugar, como o espaço de uma batalha decisiva. Em uma das características que o diretor decide atribuir ao espaço do campo, adivinha-se a articulação entre o arquivo do horror e a aspiração à dignidade que caracteriza a inscrição dos direitos humanos: as cercas de arame farpado, que compõem parte crucial da iconografia do arquivo visual dos cam- pos, são acompanhadas por arranjos de flores, que conferem à aparição do campo de Falkenau, no filme de Fuller, um aspecto de irrealidade, de sonho e de pesadelo, talvez de alucinação ou de delírio [Prancha 8 – Figuras 1, 2 e 3]. A experiência con- centracionária aparece de modo suplementar, por meio dos rostos dos prisioneiros, que operam como uma metonímia da existência de outros prisioneiros, dentro da nar- rativa, e como uma metáfora dos “atos bárbaros” de que foram vítimas e que são reconhecidos pela “consciência da humanidade”, representada pelos soldados, no es- paço alegórico suplementar em que os sentidos da narrativa transbordam seu enqua- dramento, mas também indiciada pelos arranjos de flores, que evidenciam a co-impli- cação da humanidade no horror. O espectador é convocado a ocupar a posição da “consciência da humani- dade” diante dos “atos bárbaros” descobertos no campo, cuja iconografia, no mo- mento da realização de The Big Red One, em 1979-1980, já se encontrava saturada, tornando mais contundente a encenação metonímica e alusiva a que Fuller recorre para representar o horror. A opção de Fuller pela encenação dos prisioneiros do campo sob a forma de uma sucessão de rostos, cujos olhos brilham com uma vaga luminosidade, em meio à escuridão [Prancha 8 – Figuras 11, 14, 15 e 16], reproduz a inscrição da experiência concentracionária na esfera do inimaginável, enquanto o re- gistro sonoro da sequência – sem qualquer fala ou discurso, ouvimos apenas os sons 173 rarefeitos da batalha que permanece à espreita – evidencia a temática correlata do indizível. Ao mesmo tempo, o brilho nos olhos que permite adivinhar os contornos dos rostos aparece como uma faísca, cuja frágil luz torna possível a identificação de se- melhanças e o reconhecimento da humanidade compartilhada, apesar do inimaginá- vel, isto é, apesar da dessemelhança radical que contrapõe os rostos dos soldados e aqueles dos sobreviventes [Prancha 8 – Figura 12, 13 e 17]. O jogo ambivalente entre campo e contracampo – que corresponde à ence- nação da experiência concentracionária sob a forma de uma contraposição e de uma identificação, de uma dessemelhança irredutível e de uma semelhança insistente, apesar de tudo – alcança sua articulação mais densa no encadeamento final da se- quência, em que o rosto de um prisioneiro, levemente inclinado para a direita da tela, no final de um plano, de olhos arregalados e boca semiaberta [Prancha 8 – Figura 16], é sucedido pelo rosto de Griff, também levemente inclinado para a direita da tela [Pran- cha 8 – Figura 17]. Apesar da dessemelhança que separa os olhos e o rosto do sol- dado, atravessados por uma tensão que se evidencia nos movimentos da respiração, nos olhos e na boca, dos olhos e do rosto do prisioneiro, que parece simplesmente sem reação, a semelhança insiste em se fazer visível, enfatizada pela correspondên- cia da posição dos rostos no interior dos planos. Depois do tríptico dos rostos, que destaca o rosto como fundamento da expressividade dramática e o olhar como forma de reconhecimento da experiência concentracionária, o jogo de campo e contracampo fabrica a semelhança dos rostos. Ali onde o horror nazista produz uma desseme- lhança extrema entre semelhantes, destituindo os prisioneiros de sua condição hu- mana, destruindo sua humanidade e destinando-os à aniquilação, a montagem de Fuller fabrica a semelhança, redescobrindo seus traços justamente ali onde os cam- pos e suas memórias os negam, os anulam e os desfiguram. Embora relativamente curta, a sequência da descoberta dos prisioneiros é densa, e seus sentidos são irredutíveis à montagem narrativa que a abriga, ao menos por duas razões: por um lado, sua relação com a experiência do próprio Fuller na Segunda Guerra; por outro, sua relação com as imagens registradas por Fuller (e por outros) no contexto da abertura dos campos. É na experiência pessoal de Fuller, de fato, que se encontram as coordenadas de The Big Red One: as características das personagens correspondem a traços de personalidade de Fuller e de companheiros dele no exército, e os episódios da narrativa reproduzem, parcialmente, sua trajetória 174 durante a guerra, que inclui a experiência da libertação do campo de concentração de Falkenau, na Checoslováquia. Entretanto, um dos episódios ausentes do filme de 1980 e de sua reconstrução em 2004 é o das filmagens que Fuller realizou em Falke- nau, com uma câmera Bell & Howell de 16mm, de uso pessoal, que tinha permanecido inutilizada até o momento em que, após a tomada do campo, o capitão Walker pede a Fuller que pegue seu equipamento.
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