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O Vampiro De Dusseldorf (M) Silêncio De Uma Cidade

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O Vampiro De Dusseldorf (M) Silêncio De Uma Cidade 1919 Halbblut "Quando filmo superproduções, me interesso Der Herr der Liebe Die Spinnen 1. Teil: Der Goldene See principalmente nas emoções das pessoas, nas Harakiri reações do público. Foi o que aconteceu na Die Pest in Florenz 1920 Die Spinnen 2. Teil: Das Brillantenschiff Alemanha com M – O Vampiro de Düsseldorf. Das Wandernde Bild Porque num filme de aventuras ou num filme de apresenta 1921 Pode o Amor Mais que a Morte (Der Mude Tod) bandidos, como Mabuse ou Os Espiões, só há Vier um die Frau 1922 Dr. Mabuse, o Jogador pura sensação, o desenvolvimento dos (Dr. Mabuse, der Spieler) personagens não existe. Mas, em M, comecei 1924 O Anel dos Nibelungos - Os Nibelungos alguma coisa muito nova para mim, coisa essa que (Die Nibelungen: Siegfried) e A Vingança de Kriemhild (Die Nibelungen: eu continuei em Fúria. M e Fúria são, acredito, os Kriemhilds Rache) filmes que eu prefiro. Existem outros também, 1927 Metropolis alguns que eu filmei nos Estados Unidos, como 1928 Os Espiões (Spione) 1929 A Mulher na Lua (Frau im Mond) Almas Perversas, Um Retrato de Mulher ou No 1931 M – O Vampiro de Dusseldorf (M) Silêncio de uma Cidade. São todos filmes 1933 O Testamento do Dr. Mabuse baseados numa crítica social. Naturalmente eu (Das Testament des Dr. Mabuse) prefiro isso, pois acredito que a crítica é uma coisa 1934 Coração de Apache (Liliom) 1936 Fúria (Fury) fundamental para um cineasta." 1937 Vive-se uma Só Vez (You Only Live Once) 18 de Fevereiro de 2004 – Ano II – Edição nº 40 1938 Casamento Proibido (You and Me) 1940 A Volta de Frank James (The Return of Frank James) 1941 Os Conquistadores (Western Union) O Homem que Quis Matar Hitler (Man Hunt) "Quando faço um filme, tento traduzir Confirm or Deny uma emoção." 1942 Moontide 1943 Os Carrascos Também Morrem (Hangmen Also Die) 1944 Quando Desceram as Trevas (Ministry of Fear) 1945 Um Retrato de Mulher (The Woman in the Window) "Já roubei coisas de outros diretores e fico muito Almas Perversas (Scarlet Street) 1946 O Grande Segredo (Cloak and Dagger) contente e orgulhoso se alguém me rouba alguma 1948 O Segredo da Porta Cerrada coisa. Que significa isso, roubar? É pegar uma idéia (Secret Beyond the Door) que nos agrada e tentar tornar ela sua." 1950 Maldição (House by a River) A Guerrilheiros das Filipinas I (American Guerrilla in the Philippines) F 1952 O Diabo Feito Mulher (Rancho Notorious) Só a Mulher Peca (Clash by Night) ) A 6 1953 A Gardênia Azul (The Blue Gardenia) S 7 Os Corruptos (The Big Heat) "Eu nunca fui expressionista." 9 R E 1 1954 Desejo Humano (Human Desire) - 0 1955 O Tesouro da Barba Rubra (Moonflet) G 9 Õ 8 1956 No Silêncio de uma Cidade 1 (While the City Sleeps) ( O Suplício de uma Alma Ç g (Beyond a Reasonable Doubt) n A a 1959 O Tigre da Índia (Der Tiger von Eschnapur M L e Das Indische Grabmal) T L z Journey to the Lost City I t I i r 1960 Os Mil Olhos do Dr. Mabuse F F (Die Tausend Augen des Dr. Mabuse) C Fritz Lang M - O VAMPIRO DE DUSSELDORF SESSÃO CINECLUBE PRÓXIMOS FILMES de Fritz Lang Mediação do Debate: 25/Fev A Bela Intrigante Eduardo Valente e Ruy Gardnier. de Jacques Rivette Programação e Produção: Um serial killer assusta Berlim matando crianças M – Alemanha, 1931, p&b, 105' Grupo Estação e Contracampo. indefesas. Escapa da polícia, mas não das mãos de Direção: Fritz Lang Roteiro: Egon Jacobson e Fritz Lang Fotografia: Fritz Arno Wagner organizações criminosas pertencentes ao submundo A Montagem: Paul Falkenberg Produção: C realização apoio colaboração local, que o pegam e o julgam com suas próprias leis I Seymour Nebenzal Elenco: Peter Lorre N (Franz Becker), Ellen Widmann (Madame numa velha fábrica abandonada. C É E Beckmann), Inge Landgut (Elsie Beckmann), T S P Otto Wernicke (Inspetor Karl Lohmann), A O Theodor Loos (policial Groeber), Gustaf H N C Grndgens (Schraenker), Friedrich Gnaß I I F S (Franz). www.estacaovirtual.com www.contracampo.com.br 1. Nós sabemos quem são os responsáveis. Como um genial filme recente, encantada (pelas vitrines, pelo vendedor de balões... quase Sobre Meninos e Lobos de Clint Eastwood, M – O Vampiro de Düsseldorf um parque de diversões), quanto realisticamente F estrutura o “mal-estar na cultura” a partir de uma pista falsa: um criminoso construída (os postes em que se vê o anúncio de deixa a cidade em pânico assassinando meninas. A intriga que aí se instaura recompensa pela captura do infanticida). O gosto pela R segue o curso de uma investigação, feita paralelamente pelos homens da arquitetura em Fritz Lang, como disse Tom Gunning, justiça e pelos homens da máfia. Nos dois filmes, supõe-se inicialmente que, aumenta a sensação de que o comportamento das pessoas uma vez o criminoso encontrado, a sociedade voltará a viver livre de temores. responde a determinados padrões de conduta e de O A construção narrativa, no entanto, ao nos impulsionar cada vez menos na convivência dados exteriormente (ou seja, sem primazia trama policial e nos mergulhar na profunda mesquinharia da paranóia da consciência ou do livre-arbítrio). Da vertigem da sra. D popular, revela ao longo do caminho que não são os casos excepcionais (os Beckmann quando olha para baixo das escadas crimes hediondos) que fazem a miséria da sociedade, mas sim um terrível procurando sua filha à sensação de labirinto nas cenas de L campo do não-dito, do medo e do julgamento apressado que não se escada do condomínio, Lang consegue extrair de seu E cristaliza em um ou dois bodes expiatórios: está disseminado em toda parte espaço cênico exatamente o que quer. do tecido social. Em M, a moral da história não é exatamente “Vocês devem S 4. Som+imagem. Em 1931, o cinema sonoro mal tinha vigiar melhor suas crianças”, mas “o germe do mal está em cada um de nós”. completado quatro anos. Entretanto, as possibilidades que Por mais que o vampiro de Düsseldorf seja uma figura nojenta, a sociedade S Lang consegue extrair do som em seu primeiro filme falado aqui retratada por Fritz Lang não é menos monstruosa: tanto o tribunal de beiram o inacreditável do ponto de vista da expressividade. mafiosos como o cidadão comum, os anônimos das ruas, todos eles tentam Talvez pela primeira vez na história do cinema, o som é Ü projetar seu ódio no primeiro suspeito à mão. A ambigüidade criada pelo empregado sistematicamente para aumentar o espaço filme é perturbadora: os criminosos e as autoridades policiais são apenas cênico do filme para fora do campo. Por exemplo: quando duas faces da mesmíssima moeda, como mostra a montagem paralela das D a pobre Elsie Beckmann caminha a esmo na saída do reuniões onde se busca soluções para a caça do assassino de crianças. colégio ainda sem ter encontrado seu algoz, ela quase é 2. Nem sempre o melhor é mostrar. Ao contrário de alguns filmes recentes (a atropelada por um automóvel, mas sabemos da existência E “visão” de Nicole Kidman em Cold Mountain ou os voyeuristas e abjetos do veículo antes que ele apareça na tela graças ao artifício suicídios em As Horas e Mestre dos Mares), Fritz Lang sabe que existe uma da buzina (hoje isso é o óbvio ululante em matéria de D lógica de visibilidade/invisibilidade que estrutura a relação com o espectador. edição sonora, mas alguém tinha que começar a fazer...). O Assim, as primeiras aparições do assassino são sempre em forma de vulto ou som em M é tão privilegiado que o próprio assassino é de presença fora-de-campo. Menos por suspense do que por necessidade: descoberto não pelo olhar, mas por um som que emite (um seria um tanto injusto que o espectador tivesse o privilégio da visão assovio). E descoberto por um cego... Ainda é preciso que O onisciente uma vez que a sociedade tenta encontrar o criminoso que para ela se diga, M contém um dos planos mais incríveis da história (ainda) não tem rosto. O assassino Beckert é primeiro uma sombra, depois um do cinema: associação dos mendigos, a câmera vai R assovio, e por fim um homem filmado de longe e de costas. É só quando os caminhando para frente, focaliza as mesas em que os I traços da investigação vão ficando mais nítidos – pela organização dos mendigos separam os restos recolhidos, jogam cartas, e mendigos, pela hipótese acertada de ser um homem que já passou por depois sobe um andar e ultrapassa a janela, instalando-se P manicômios – que podemos ver o rosto do infanticida, primeiro de longe e no escritório em que os líderes do crime organizado mais tarde de perto (e aqui não podemos deixar de mencionar a montam um plano para caçar o assassino de crianças. extraordinária atuação de Peter Lorre). A adequação entre aquilo que M 5. Fuga para o oeste. Convém lembrar que M é realizado podemos ver e aquilo que a comunidade sabe (ou seja, o que ela pode “ver”) menos de um ano depois do primeiro sinal da força do é uma das forças motrizes que fazem de M um marco na história do cinema. nascente Partido Nacional-Socialista (107 cadeiras no A 3. Cinema, questão de arquitetura. Já foi dito mil vezes que Fritz Lang é o Reichstag) e um ano antes da ascensão de Hitler ao poder. V cineasta que mais sabe captar a geometria das construções arquitetônicas Assim, a paranóia disseminada na população e a e compor o espaço de forma que todos os ambientes filmados se façam animosidade gratuita podem e devem ser vistos como sentir com uma atmosfera e um ritmo muito particulares.
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