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Henry Hathaway O El Clasicismo Singularizado1 Michel Cieutat Traducción ANA USEROS

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Henry Hathaway O El Clasicismo Singularizado1 Michel Cieutat Traducción ANA USEROS 48 MINERVA 27.16 Henry Hathaway o el clasicismo singularizado1 MICHEL CIEUTAT TRADUCCIÓN ANA USEROS Aunque a lo largo de las décadas de 1950 y 1960 los defensores apasionados de la política de autores supieron poner de relieve a la mayoría de los grandes cineastas de la edad de oro hollywoodiense (Hitchcock, Ford, Hawks, Lang...), así como a los principales «maestros menores» (Fuller, Heisler, Garnett, Ulmer...), fueron , 1947 , en cambio bastante discretos a la hora de hablar de quienes les parecían únicamente empleados a sueldo de los estudios. Hubo que esperar la llegada de otras miradas, tan entusiastas como aquellas pero más lúcidas –como las de Jean-Pierre Coursodon, Bertrand Tavernier, Christian Viviani y algunas otras–, para señalar que ya existía 13 Rue Madeleine entonces, en aquella misma época, una categoría de «maestros medianos», y que algunos de ellos, como Michael Curtiz, André de Toth o Jean Negulesco, bien podían rivalizar con los grandes. Henry Hathaway formaba parte de este grupo gracias sobre todo a su estilo: un estilo que se esforzaba por empujar más allá de los límites del clasicismo renovándolo a menudo. 1 Publicado originalmente en Positif, febrero de 2014, nº 636. en una escena de James Cagney CBA CINE EN EL CBA 49 UN ESPÍRITU AUTÓNOMO trepidante de Brigham Young (1940) o en las de The Real Glory (La jungla en armas, 1939), el empleo regular de fundidos encadenados Dotado de una fuerte personalidad, Hathaway, como aquellos que de apertura y cierre (Nevada Smith, 1966), el uso en ocasiones fueron sus maestros, Josef von Sternberg y Victor Fleming, sabía abrumador de una música ilustrativa (Sundown, 1941) y un gus- imponer su ley. Por ejemplo: como en sus inicios, llevado por la to pronunciado por la narración mediante la voz en off (The Kiss necesidad, tuvo que rodar westerns en escenarios naturales (los of Death, The House on 92nd Street) observamos, no obstante, una diversos estudios de Paramount nunca estaban libres) aprovechó cantidad muy elevada de investigaciones estilísticas, cuando no esa experiencia para después, en la posguerra, producir sus pelí- de auténticas innovaciones en varios registros. culas policíacas de la misma manera [The Kiss of Death (El beso de la muerte, 1947); Call Northside 777 (Yo creo en ti, 1948)], animando En primer lugar, el deseo evidente de renovar la técnica del pla- así a Elia Kazan, entre otros, a seguir sus pasos [Panic in the Street no/contraplano. Hathaway podía, sencillamente, haberla evitado. (Pánico en las calles, 1950)]. Por otra parte, apasionado de las in- Privilegiaba entonces los two shots (planos fijos que encuadran novaciones técnicas, no dudó en emplear numerosos movimien- a dos personajes en un primer plano cortando por el pecho) y a tos de cámara en las escenas de exterior filmadas en Technicolor, menudo les otorgaba una duración muy larga (1’ 56” para el plano como las de The Trail of the Lonesome Pine (1936), una elección que muestra a George Sanders frente a Bruce Cabot en Sundown; audaz, puesto que sabemos lo complejo que resultaba iluminar 2’ 2” para aquel en el que Victor Mature y Colleen Gray deciden con ese procedimiento. En The Kiss of Death rueda una secuencia abandonar la ciudad en The Kiss of Death) 4. Una elección que en unos grandes almacenes con cámara en mano de 16mm, y des- volvemos a encontrarnos para evitar que otras escenas exijan un pués hincha la película a 35mm. Nunca se asustó ante los desafíos plano/contraplano: aquella escena en la que Gary Cooper [Peter derivados de la filmación de situaciones dramáticas en decorados Ibbetson, (Sueño de amor eterno, 1935)], paralizado, evoca el mundo exiguos, tanto en una película policíaca [Fourteen Hours (Catorce de su amada (1’ 22”); aquella en la que Tyrone Power declara su horas, 1951)] como en un western [Rawhide (El correo del infierno, amor a Linda Darnell en Brigham Young (1’ 5”). Es una manera de 1951)]. Y no dudó tampoco a la hora de rodar en Technicolor una operar que permite que los intérpretes, colocados en la situa- película de cine negro [Niagara (Niágara, 1953)], un género que, ción de un intercambio real con sus compañeros, den lo mejor por definición, no podía sino resentirse del color. de sí mismos. Numerosos planos fijos, pues, más o menos largos, que Hathaway se esforzará por conservar añadiendo, a partir de En lo que se refiere a sus decisiones artísticas, sus declaracio- nes al respecto son claras: «Conmigo el director de fotografía no tiene ninguna iniciativa [...] Yo elijo todas las posiciones de la cámara. Monto mientras ruedo y el montador no tiene más que Coleen Gray y Victor Mature en Kiss of Death, 1947 unir los planos»2. Se comportaba de la misma manera con sus actores, a quienes dirigía con precisión, manteniéndose siempre junto a ellos (un comportamiento que Gregory Peck calificó de «tiránico»). Así buscaba obtener su total confianza. «Un actor siempre tiene miedo de parecer ridículo, y Cooper y Wayne sabían que conmigo nunca parecerían ridículos, pues yo les dirigía muy de cerca. Y esa confianza les permitía estar más relajados, atre- verse a hacer más cosas» (Positif, nº 136, 1972, p. 48). Excelente director de actores, sabía tanto detectar un nuevo talento (fue él quien impuso a Richard Widmark en el papel de Tommy Udo en The Kiss of Death, a pesar de que, en el relato de Eleazar Lipsky, el personaje era un gigante amenazador) como frenar en seco, sobre el plató, los caprichos de las estrellas (le prohibió a Marlene Dietrich el empleo de su espejo, colocado ante la cámara, al ini- cio del rodaje de I Loved a Soldier)3. Y sabemos que podía ejercer su poder de decisión ante el gran jefe de la 20th Century Fox, Darryl F. Zanuck, puesto que le obligó a aceptar la financiación de Fourteen Hours y de The House on 92nd Street (1945). De ahí su libertad de tono frente a la estética clásica en boga en Hollywood, rechazando lo académico y lo convencional, personalizándola en la medida de lo posible. EL RECHAZO DE LAS CONVENCIONES Aunque aquí y allá se le pueden señalar planificaciones funciona- les muy convencionales (13, rue Madeleine, 1947), algunos plano/ contraplanos clásicos en The Dark Corner (Envuelto en la sombra, 1946), el recurso a las transparencias para las escenas de acción 2 Jean-Pierre Coursodon y Bertrand Tavernier, 50 ans de cinéma américain, Nathan, París, p. 509 [trad. esp., 50 años de cine norteamericano, Akal, 2010]. 3 Película inacabada. 4 Duraciones calculadas a la velocidad de proyección DVD (25 imágenes por segundo). 50 CINE EN EL CBA MINERVA 27.16 en balsas al rescate del fuerte atacado por los moros en The Real Glory) o incluso me- diante un agudo sentido de la aceleración del tiempo por medio de fundidos enca- denados, sobreimpresiones (la búsqueda del traje blanco de William Bendix en The Dark Corner) y una planificación cercana a la del cine mudo ruso de la década de 1920 (el regreso del agua a la aldea después de que Gary Cooper destruya voluntariamente la presa en The Real Glory). Un conjunto de procedimientos que crean una narración extraordinariamente fluida. UN DETERMINADO SENTIDO DE LA AUDACIA Esa fluidez la obtiene gracias a un empleo poco convencional de los movimientos de cámara, que a menudo busca que sean cor- tos (The Kiss of Death), a imagen y semejanza de sus panorámicas rápidas en The Lives of a Bengal Lancer o de los travelling panorá- micos cruzados de Peter Ibbetson (la escena en la que Ann Harding, en su habitación, es «sentida» por Gary Cooper en la cárcel). Igualmente, podía de repente finalizar un 1954 –cuando la Fox le obliga a rodar en el intercambio en plano/contraplano para Cooper (Peter Ibbetson). O bien rechazaba formato cinemascope–, otro personaje para continuarlo con un travelling hacia atrás, totalmente el procedimiento, reemplazán- rellenar la pantalla alargada y así preservar como el que precede a Ann Harding y Gary dolo por una simple panorámica derecha- la misma cualidad expresiva de sus actores izquierda: la que sigue la mirada de Joseph [por ejemplo, en la escena en la que el padre Cotten en un bungalow yendo desde Jean de Janet Leigh le anuncia que deberá casar- Peters a Casey Adams, explicándoles sus se con el vencedor del torneo en Prince Va- problemas conyugales (Niagara). Peque- liant (El príncipe valiente, 1954)]. Si no podía ñas audacias narrativas que se alternan con hurtarse al plano/contraplano, se obligaba movimientos de cámara más convencio- entonces a multiplicar sus ángulos y sus en- nales, como sus panorámicas, ya sea para cuadres, dinamizando así una escena como describir vastos paisajes (Nevada Smith), la del vivac de The Lives of a Bengal Lancer para introducir una nueva acción (Brigham (Tres lanceros bengalíes, 1935) en la que Sir Young) o más funcionales: como esa, circu- Guy Standing pide a Gary Cooper y Franchot lar, alrededor del juez, que nos descubre a Tone que protejan a su hijo, una escena que Noah Beery, acusado de asesinato en To the fue filmada desde seis ángulos diferentes. Last Man (1933). Un dinamismo que logra igualmente por Un gusto por la audacia estilística claramen- medio de frecuentes raccords sobre el eje te más pronunciado en su forma de trans- [Fourteen hours, 13, Rue Madeleine, Johnny gredir –en un plano/contraplano– tanto la Apollo (1940)]5, mediante una planifica- regla de los 180 grados (To the Last Man, Peter ción topográfica muy precisa (las diversas Ibbetson, 13, Rue Madeleine, Johnny Apollo, secuencias en Niagara que nos permiten Call Northside 777) como la de los 30 grados situar perfectamente el conjunto de las (The Real Glory), para subrayar la tensión de famosas cataratas), mediante una selec- la relación entre los protagonistas invirtien- ción de ángulos insólitos que acentúan la do la dirección de sus miradas.
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