Archivo de la categoría: Cine y literatura

El cine y su relación con la literatura y la poesía

Publican de manera póstuma libro de Gustavo García

Con información de la agencia Notimex y publicada en El Universal:

Publican de manera póstuma libro de Gustavo García

En Viendo la luz el crítico reunió microhistorias sobre los cines de la Ciudad de México, de autores como Salvador Novo y Sergio Pitol

Viendo la luz, Gustavo GarcíaUna serie de microhistorias sobre los cines de la Ciudad de México, contadas por autores como Martín Luis Guzmán, Salvador Novo, Jorge Ibargüengoitia y Sergio Pitol, entre otros, fueron recopiladas por el investigador y crítico de cine Gustavo García (1954-2013) en el libro Viendo la luz… Salas de cine en la literatura mexicana .

El ejemplar fue publicado de manera póstuma y será presentado el 13 de enero próximo en la Cineteca Nacional por la escritora Guadalupe Loaeza, el crítico de cine Rafael Aviña, y la hija de Gustavo, Alejandra García.

En entrevista, Jorge García-Robles, director de la editorial Uva Tinta, explicó que Viendo la luz forma parte de la colección “Microhistorias mexicanas” , integrada por ocho volúmenes en los que se recuperan diversos temas relacionados con el Distrito Federal.

Fue a finales de 2012 cuando García-Robles habló con Gustavo García para proponerle la realización de un libro dedicado a las salas cinematográficas, “desde un principio le entusiasmó la idea de hacer una antología de autores que hayan escrito sobre las salas de cine en México” , recordó.

Con el apoyo del Consejo Nacional para la Cultura y las Artes (Conaculta) el proyecto fue tomando forma, y luego de más de un año de investigación, Gustavo fue entregando los capítulos del libro, hasta que tuvo que ser hospitalizado de emergencia.

Todos los textos incluidos en el libro fueron elegidos por García, entre los que destacan los ensayos, crónicas, artículos y fragmentos de obras literarias escritas por autores como Luis G. Urbina, Ramón López Velarde, Amado Nervo y Federico Gamboa.

Autores como Salvador Novo, Jorge Ibargüengoitia, Eraclio Zepeda y Sergio Pitol también son incluidos en esta serie de relatos que narran cómo los cines en la Ciudad de México se fueron convirtiendo en parte de la cotidianidad del mexicano, y se fue creando todo un fenómeno social alrededor de estos espacios arquitectónicos.

“Conocí a Gustavo en la Facultad de Ciencias Políticas de la UNAM hace más de 20 años, siempre fue un hombre comprometido con su mayor pasión: el cine, así que desde el día que le propuse realizar el libro mostró gran entusiasmo” , recordó García-Robles.

En su oportunidad, Claudia Elena Hernández Ojesto-Martínez, viuda de Gustavo García, señaló que concluir Viendo la luz no fue nada fácil para el también catedrático, debido a sus problemas de salud, “recuerdo que Gustavo se sentía muy mal pero nunca dejó un trabajo abandonado” .

Indicó que hasta tres días antes de ingresar al hospital continuó dando clases de cine a mujeres de la tercera edad y trabajando en los textos del libro, “fue difícil para él porque trabajó en él incluso cuando ya estaba enfermo, porque deseaba verlo publicado” .

Comentó que antes de enfermar, Gustavo trabajaba en otros proyectos, entre ellos, el libro El desnudo femenino en el cine nacional , en colaboración con Mauricio Hammer y Roberto Fiesco, así como un guión cinematográfico con Ismael Rodríguez hijo, y un texto de memorias de Ismael Rodríguez.

Gustavo García, quien falleció el 7 de noviembre pasado debido a una complicación respiratoria tras una cirugía de abdomen, fue licenciado en Periodismo y Comunicación Colectiva por la UNAM, profesor de Historia del Cine Mexicano en el CUEC (1980-1990) y de Géneros Periodísticos, Guión de Radio e Historia del Cine en la carrera de Comunicación Social en la UAM-Xochimilco.

Guión de La bella durmiente del bosque por Gabriela Mistral

Tomado del International Review of Educational Cinematography, publicación mensual de The International Educational Cinematographic Institute, perteneciente a la Liga de las Naciones, abril 1930, año II, No. 6, páginas 684-700.

Durante la breve historia que tuvo La Liga de la Naciones, antecedente de la Organización de las Naciones Unidas, se instauró el Instituto Internacional de Educación Cinematográfica, que a su vez edito la Revista Internacional de Educación Cinematográfica. Como parte del consejo editorial de dicha revista estuvo la escritora chilena Lucila Godoy de Alcayaga, conocida mundialmente como Gabriela Mistral.

Que yo sepa este es el único intento que hizo por acercarce al cine. El siguiente guión, basado en el cuento de Charles Perrault, es una adaptación de la narración, pero con cambios sustanciales a la obra original. Estos cambios están explicados al inicio. Fue publicado en inglés en la revista y así lo transcribo.

El guión consiste en cuatro partes y una introducción o nota. Resulta muy interesante constatar que la escritora tenía una idea muy bien aterrizada sobre lo que debía mostrarse en las imágenes y del lenguaje cinematográfico. Recordemos que el cine parlante estaba en pañales y su visión del cine viene del periodo mudo.

The Sleeping Beauty in the Wood

(A Free Version of Perrault’s Fable)

by Gabriela Mistral

NOTE

The original version of Perrault’s fable occupies only five pages. In order to adapt it to the cinematograph, it has been necessary to introduce some new scene, into it, and even entire parts, since the shortest cinema play is wont to last one hours I have, however, respected the precious folklore fable, and kept as far as possible to its essential lines.

In this version I have attempted a number of things with greater or lesser success.

The number of fairies specified in the banquet scene is seven. Since each of these has to express her wish, it would have been, necessary to repeat seven times over the same scene— a process which would be monotonous on the screen. But the picture would have been lacking in animation if a lesser number of fairies had been present. In order to avoid this difficulty in the scenario, I have made the fairies appear in groups of three; each group acts as a single person and express the fairy’s wish.

Certain Christian symbols and phrases that do not appear in Perrault’s original have been introduced into this version. Infantile and popular fancy are so deeply impregnated with Christianity, that the images and phrases introduced will appear quite natural.

I have also endeavored to simplify the story by suppressing one character in the second part: the old woman who is unaware of the order throughout the kingdom against spinning and continues to spin in her secluded nook. It seemed more plausible to make the bad fairy play the cruel part of deceiving the Princess and let her carry out herself the prophecy that she should be pricked by the spindle.

There is a hiatus in Perrault’s fable – between the scene of the baptismal banquet and the Princess’s slumber. I have sought to fill in this long gap by introducing the pictures illustrating the Princess’s upbringing.

Perrault’s fable does not suggest any effort on the part of the parents or courtiers to prevent the fulfillment of the doom.

This is in fact the triumph of the fatalistic views of the ancient world. In the third part of this version I have introduced certain scenes at variance with this classic view of destiny: the Princesses make a determined but vain effort to overcome the doom.

In, the pictures inspired by the legend and in its several versions, it is taken for granted that the palace and all its denizens fell asleep. It does not seem out of place to include the parents of the Princess among the victims of the doom.

The division of the story into pictures does not follow any rigorous cinematographic order, but merely a coordination of ideas necessary for logical grouping.

All minute details of architecture, costume, etc. have been left out, assuming that scene directors and producers are those best fitted and best able to reconstruct the scenes proper to the period.

Gabriela Mistral
Gabriela Mistral

PART I: Birth of the Princess

1st Picture

A typical eastern palace: either after the style of the Kremlin, or else resembling some Hindu temple or of Maya architecture.

A monumental stairway in the center of the facade starts from a mound in front of the palace.

On either side of the palace and behind it a great fir-wood stretches to the horizon.

The palace is adorned with banners and surrounded by triumphal arches, as though for some great fête.

An oriental crowd of rich and poor slowly take up their position on the rise in front of the palace.

2nd Picture

As in the pictures of the Magi and shepherds of Bethlehem, persons of all stations are arriving, some on foot, others on heavy cars, elephants, and dromedaries, bearing gifts sent by the governors of the Kingdom and by friendly Asiatic potentates. The humbler donors ride up on mules and asses and bring doves and birds and baskets of fruit.

3rd Picture

When the procession of gift-bearers has passed on, the crowd moves forward to occupy the best positions near to the stairway, down which the heralds are expected to come; the air is full of eager expectancy.

4th Picture

Three of the King’s Heralds, preceded by trumpeters, slowly descend the monumental stairway; they halt midway, and announce, in the King’s name, the happy birth of an infant girl « as lovely as the Shulamite, as strong as Judith, and as welcome as the Angel of the Annunciation ».

5th Picture

The crowd is thrilled with joy; the people raise on high their gifts and wave scarfs and multicolored streamers.

6th Picture

The donors ascend the steps preceded by the heralds, raising on high their gifts: the crowd follows their movements eagerly till the last has disappeared — a poor boy carrying a little humming-bird, who plays with it as he goes up — they then disperse, leaving the mound at the foot of the stairway empty.

7th Picture

The great inner courtyard of the palace. It is paved with lovely colored tiles like the rich Arabian courts. Ranged along the four sides of the quadrangle are brilliant colored birds in cages ; soldiers are seen changing the guard; some stand beside the columns, as rigid as marble, while others walk up and down the portico.

The rich gifts brought are scattered all over the courtyard, which presents something of the confused aspect of a depot of war booty.

8th Picture

The grand banqueting hall of the Palace decorated for a feast. The walls are lined with mirrors that multiply the palms and branches of almond-blossom that decorate the tables and hang in great festoons from the ceiling. So great is the profusion of plants and flowers that the hall suggests a beautiful garden.

In a fine crystal cradle lies the little baptized infant, now a week old; she is a lovely oriental-looking baby with almond-shaped eyes.

At either end of the board the King and Queen are seated, awaiting the arrival of the fairies. The table is laden with bowls of fruit — pine-apples, bananas, mangoes, etc.; colossal cakes alternate with the bowls of fruit and with precious porcelain jugs full of wines and sherbets. Tripods full of burning incense diffuse their perfume from the four corners of the hall.

9th Picture

The guards stand two by two by the doorways and the fairies enter in groups of three; they salute the King and Queen and then go over to admire the sleeping babe. The fairies appear as lovely youths and maidens. The former are all clothed in fern leaves, with a branch of myrtle at their waist; they are crowned with garlands of daisies and jasmine. Some are clothed like Greek dancers with bare legs and arms. Others are veiled. Others again are in symbolic costumes like those worn by the Sibyls; these are entitled to the places of honor at the board. All of them carry wands.

After the entry of the fairies, sylphs, elves, and gnomes crowd on to the table; they turn summersaults amid the fruit bowls and the jugs of wine.

10th Picture

The groups of fairies move in harmonious rhythm, as in the figures of a ballet.

The first group of three approaches the cradle and raising their wands above the baby’s heart; pronounce the following wish:

« May the Princess be loved by all who behold her; by those who listen to her voice, and even those who only hear her name! »

The group withdraws rhythmically and makes room for another.

« May the Princess dance the dances of all peoples and sing the songs of all races! »

They make the ritual signs on the infant’s mouth and feet, and slowly withdraw.

The third group advances; the fairies make a great sign of the cross above the infant and pronounce their wish:

« May the Princess never see her Kingdom at war! »

After each wish the royal parents bow to the group of fairies and thank them.

11th Picture

As the fourth group of fairies is approaching, a loud knocking is heard at the door. The King asks his guests if any of the fairies are missing, but all shake their heads in denial. The knocks are repeated more loudly, but the guards don’t open. All stand listening in the hall.

12th Picture

Suddenly the door is flung open and an old woman, worn in body and attired in rags, enters. In her attitude there is all the violence of the Pythonesses and the Eumenides.

For a moment all the fairies stand paralyzed with amazement while the newcomer advances and stands beside the cradle.

13th Picture

While the groups of fairies draw back with the instinctive horror that black magic always inspires, the King and Queen hasten across the hall and stand beside the cradle to protect their infant from the ominous intruder.

14th Picture

The old Fairy stands out grimly between the royal couple. She looks formidably old, as though she had spent long years imprisoned in a tower. Her hair has grown stiff and wild like evil weeds in a field and form a grim aureole around her face; her mouth is convulsed as though uttering a curse.

Her gown, unchanged for many years, is dropping in rags from her body; instead of the golden wand, shining like a sun-beam in the hands of the young fairies, she clenches in her fist an iron bar that she has wrenched from her prison window.

Still standing in front of the cradle, between the King and Queen, and raising aloft her naked and bony arms to give greater emphasis to her words, the hag pronounces:

« The Princess shall obtain all that the fairies have wished her, but she shall perish on her twentieth birthday, pricked by a spindle ».

Horror of the royal couple and the group of fairies, who threaten the spoil joy, raise aloft their golden wands to avert the curse.

15th Picture

The fourth group advances — the first-born among the fairies; their rank is marked by their dress, similar to that of the sibyls; they gaze at the sleeping infant and pronounce the last wish:

« The first-born and beneficent fairies change the death doom that has been pronounced into a gentle sleep that will last a hundred years! »

16th Picture

The bad fairy makes cabalistic sign in the air: her fierce countenance seems to summon up all the powers of darkness. A thick fog envelops the hall, descending slowly on the board, the cradle, and all the groups of fairies.

17th Picture

The King’s messengers are seen riding forth in all directions, even into the remotest villages, to summon the people to the public squares, where a royal decree is to be read out, forbidding anyone to spin in any part of the country and ordering the spinners to destroy spinning-wheels and spindles.

A succession of oriental towns and villages are shown in which the royal decree is being read out. Crowds of people; women in hot dispute. When the messengers read out the edict, the people understand its purport, and disperse to obey and destroy the forbidden objects.

18th Picture

The crowd returns bringing spinning-wheels and spindles. Pyramids of the condemned stuff are built up. The King’s messengers set fire to them in the presence of the people, who wish long life to the Princess.

Charles Perrault
Charles Perrault

PART II: The Magic Education of the Princess

1st Picture

A large cave full of visible marvels and yet more full of invisible wonders. Enormous musk-plants drop living green stalactites. Gigantic ferns spring from the earth and intertwine their fronds with the musk. Unopened ferns take on the semblance of mysterious phantoms rising from the ground. Fungi of all forms and color, of startling aspect: some look like umbrellas; others like lamps; some like giant corals with fleshy chalices. Here and there an isolated rock looks like a living being. In the background, phosphorescent water-falls light up the whole grotto. The little Princess is seated in a clear space in the center. She is four years old by now, and gathers the fungi in her hands, gazing in wonder at their strange shapes. All of a sudden she is startled by a sound from the outside.

2nd Picture

A procession of sylphs, gnomes, elves, and imps enter the grotto by the main entrance, like school children flocking to a feast; some tumble from the roof with the agility of acrobats; through the side openings of the cave others wriggle in with serpentine movements.

(« These « spirits of nature » can be acted best by marionettes, ably handled as in the « Teatro dei Piccoli »).

3rd Picture

« Nature’s Sprites » advance towards the spot where the little girl is seated; they laugh and shout, gesticulate and romp in the gayest manner with « the little daughter of man »

4th Picture

The sprites touch the ground which they find hard, and go off to gather wild herbs and grasses from the woods to soften it.

They pick up the little girl in their arms and seat her on the rustic throne, play with her tresses, pat her cheeks, and rock her as though to make her sleep.

5th Picture

When they have set the child down, the « spirits of nature » dance wildly around her.

6th Picture

The child points out to them the musk that hang down above her head, which she is unable to gather.

Three imps jump up in the air and gather one which they hide in their clothing

7th Picture

The child turns towards the depths of the grotto, and gazes smiling at the phosphorescent waterfalls; she asks « Natures’ sprites » to pick her a little of the « burning water »”… The elves gather a fungus in the shape of a goblet, fill it from the cascade, and bring it to the little Princess.

8th Picture

The evil fairy spies in through a crack amid the rocks to watch the princess playing with the elves.

9th Picture

The great park of the Royal Palace. Tall isolated trees — araucarea, fir trees, and ilexes. An avenue of palm trees opens in the background, traces a perfect line, and ends in a circular lawn of exquisite texture, shaded by palm trees. Royal peacocks are perched on branches of the trees, and pheasants fly from one spot to another. From time to time gazelles and young deer run across the lawn, rapid as arrows in flight, enter the woods and disappear.

The Princess is ten years old by now and is playing on the lawn with other children of her own age. Her white tunic, of the simplest cut, distinguishes her from her little play-mates.

10th Picture

The group forms a circle; the Princess is placed in the middle and the others dance round her.

The Princess, waves her arms gracefully to direct the dance; of a sudden she pauses to watch above her head the ring of another dance, invisible to all but herself, performed by « Nature’s spirits » with much greater elan than the daughters of man can attain.

11th Picture

A royal procession advances majestically along the palm avenue: the King, the Queen, their chamberlains, ladies, and pages. Upon reaching the circular lawn, the procession pauses to watch the girls at play. The King turns smiling to the Queen.

The children continue to dance their merry round.

The gay spectacle suddenly brings back the terrible threat to the minds of the royal parents: as in a vision they behold above their heads the body of the girl at twenty, dead or alive, lying on a bier. . The parents’ eyes grow dim and the Queen’s head sinks on her breast.

12th Picture

Night time. The sumptuous music and dance hall of the royal palace. Mandolins, psalters, violins, and harps are arranged in the corners on stools.

An old dancing master stands beside a harpist explaining the steps.

Four ladies of honor — dancing mistresses — teach the steps, the courtseys, and all the movements that must be carried out round the Princess. The Princess listens to the explanations and repeats them with the greatest exactitude.

The Princess is about to complete twenty years and is seen in all her eastern beauty, soberly dressed, with a brilliant scarf that falls from her shoulders to her feet which she gathers up or allows to fall as the various figures of the dance require.

She smiles sweetly whenever the dancing mistresses address her, and follows the various figures faultlessly, but with the slight air of shyness that all pupils have in the presence of their teachers.

13th Picture

Invisible to the ladies, but not invisible to the Princess who is aware of their advent, the fairy god-mothers appear one by one, detaching themselves from the walls, like mists materializing into human bodies ; they also start to dance without advancing into the center of the room.

14th Picture

The Princess almost ceases to pay heed to her mistresses. The magic spirit of the dance that belongs to fairies alone takes possession of her body.

The Princess performs a new dance, miraculously inspired, that nobody has ever taught her, without paying any heed to the sounds of the harp; she sings as in a state of extasis.

The dancing mistresses gaze at her first in surprise, and then, carried away by the beauty of her dance, they urge her on with cries of admiration.

The musical instruments ranged in the corners of the room start playing by magic and diffuse throughout the whole ball-room waves of harmony that intertwine and form a sort of musical aura similar to that which musical geniuses alone can produce and no human heart resists.

15th Picture

The dancing mistresses and musicians withdraw from the center of the room, leaving a vacant space for the Princess to dance in.

16th Picture

A monumental clock chimes the hours of the night.

A lady of honor approaches the dancer and begs her to stop so as not to exhaust herself, reminding her that on the following day she will complete twenty years and will have to take part all night in the festivities in the royal palace.

17th Picture

The Princess, happy with her success, recalls the wish that was pronounced after her birth and repeats it with a prophetic air: « May she dance all the dances of the world and sing songs of all peoples »

18th Picture

On hearing these words the ladies of honor recall the threat that was then pronounced, and they almost see the body of the Princess, motionless and rigid, lying on the shawl that envelops it.

19th Picture

The Princess, directing her steps towards her apartment, approaches the monumental stairway of the palace. She listens to a song she is unable to recognize, and turns her head from side to side in quest of the spot whence it issues; at last she perceives that it comes from the top of the palace, and she makes her way to a wide staircase that leads to the attics, which she mounts.

20th Picture

A low attic in which the old fairy is spinning, accompanying her movements with a song. The young girl greets her merrily. The hag answers with a mocking curtsey. The Princess sits down on a rustic stool beside the spinner.

21st Picture

The Fairy continues to spin with unmatched skill. The Princess follows the progress of her work with ever growing surprise.

As the yarn lengthens, flowers and geometrical designs appear on it. It falls gradually from the wheel onto the Princess’s lap.

22nd Picture

The old woman looks at the Princess’s face and seeks a moment to catch her unawares and prick her with the spindle. The princess raises the yarn to the height of her eyes to gaze at its fine texture.

The hag rapidly pricks her arm with the spindle.

The Princess sinks to the ground and falls into a deep sleep.

The hag rapidly flings aside her wheel and spindle and hurries down the stairs.

23rd Picture

The Bad Fairy arrives in the room underneath, which is the audience chamber. In the center stands a huge richly inlaid table; the walls are lined with tapestries; here and there rich Chinese vases adorn the apartment.

The King and Queen are seated in front of one another; the King holds his pen as though writing; the Queen has a Persian cat on her knee. The royal couple fall asleep and the cat purrs on.

The Bad Fairy casts a hasty glance at the scene and descends another flight.

24th Picture

The guards’ hall: armor in the corners, two big deerhounds. The sentries as they stand are seized with the magic slumber and remain rigid as statues, with swords raised. Even the dogs drop asleep.

The Fairy appears in front of the Royal Palace, rapidly runs down the staircase, follows the path to the neighboring wood, and disappears among the trees.

La bella durmiente
The Sleeping Beauty

THIRD PART: The Hundred Years’ Sleep

1st Picture

Royal carriages drive up to the palace.

Four young princesses, holding falcons on their wrists, alight and look aloft at the palace ; they have come from neighboring countries to make an effort to wake up the Sleeping Beauty, for the strange rumor of her fate has spread and all the sovereigns of Asia are moved to pity.

2nd Picture

They ascend the monumental stairway and walk noisily into the hall, talking and gesticulating.

3rd Picture

They mount to the attic, where the Princess is lying on the rough floor, close to the wheel and the spindle of her doom.

4th Picture

The four princesses gaze at her in pity; they are moved, and call on her in the words of the eastern poets.

« Rose of Saaron, spring is here; arise! »

« Cup of Myrrh that perfumes the world, arise! »

« Joy of this Kingdom and of all Asia, we are sad. Arise! »

Her face and body are still animated with life, but she does not move.

5th Picture

The four Princesses appear at the head of the stairway bearing the fair sleeper on a sheet. They descend slowly and lay her down on the landing.

6th Picture

Musicians and dancers of the people come up with bronze and copper instruments, their wrists and ankles adorned, with bracelets, rattle-snakes, and castanets.

7th Picture

The Princesses give the signal for the music and dance to start. The players begin to beat their drums and play their cymbals.

The eyes of the Princesses are glued on the fair sleeper; and, from time to time, they make impatient gestures for the music to go louder and quicker. The women dance wildly and click their castanets close to the ears of the lovely Sleeper.

8th Picture

A dog appears at the edge of a towering pine wood.

Bearing the body of the Fair Sleeper, still lying on the white sheet, the princess advances slowly, at a rhythmical pace. At a point in the wood where the grass grows soft as a down bed, they lay down the beloved body and stand round it waiting.

9th Picture

A cavalcade of knights rides up on magnificently caparisoned horses. The cavalcade halts noisily near the Sleeping Beauty. The Princesses turn round their heads to see.

10th Picture

The cavalcade is followed by a long file of heavy war wagons bearing soldiers and war material.

The Princesses gaze at the Sleeping Beauty and veil their eyes with their shawls.

The Sleeper sleeps on unperturbed. The Princesses turn sadly to gather up the four corners of the sheet and, skirting the wood, return towards the palace.

11th Picture

A small clearing in the pine wood. The four Princesses enter it, carrying the Sleeping Beauty on her living bier, and take her to the back, where the waters form a series of cascades. They lay her down where the sound of the waters is loudest and still hang round their friend as though awaiting a miracle; but the Sleeper sleeps on. After a long pause, they gather up the corners of the sheet and carry the Princess from the wood.

(D. G. Rossetti’s well-known painting « Dante’s Dream » might be taken as a model for this and the preceding pictures).

12th Picture

More years have gone by. The Royal Palace still stands, but no sentries guard it and it seems entirely deserted. Weeds have overgrown the old lawn surrounded by the trees of the wood.

Puss in Boots emerges from the wood: he carries a peasant’s wallet on his back and leans on a rustic stick. He gazes at the palace; remembers that a dread enchantment weighs on it, gives a loud and terrified miaow, and runs back into the wood, peering suspiciously around him.

13th Picture

Little Red Riding Hood comes out of the wood, with her basket on her arm; she beholds the palace on which the hundred years’ enchantment lies so heavily, makes the sign of the Cross, and runs away.

14th Picture

Aladin steps out from the forest with his wonderful lamp in one hand and in. the other a handful of phosphorescent stones. He recalls the story of the Sleeping Beauty. He halts, murmurs a prayer with lowered head, rouses himself, and returns into the wood.

Prince Florimund finds the Sleeping Beauty

FOURTH PART: The Sleeping Beauty Wakes

1st Picture

The Royal Palace is entirely hemmed in by a forest of pines and fir trees. From afar its towers, cupulas, and highest terraces alone can be seen.

A group of hunters comes riding through a pathway in the wood. The sound of the horns and the barking of the hounds startle the deer and the pheasants, which are seen flying in all directions.

2nd Picture

The group of hunters rides up. They are dressed, in oriental hunting attire, but with a military note befitting the suite of a hereditary Prince. There is a brave show of horns and hawks; splendid hounds surround a cart on which the day’s bag of wild boars, deer, and birds are piled up.

3rd Picture

The Prince, in the center of the group, gazes at the horizon onto which the wood opens, perceives the palace hidden amid the trees, and asks the oldest member of his suite where they are.

4th Picture

The old man narrates the story of the palace in which sovereigns and courtiers, servants, and all familiar creatures are asleep. He accompanies his story by gestures of horror. The Prince, on the contrary, is excited by the story, he rises eagerly in his saddle and points to the palace as a conqueror points to a city he means to take by assault.

5th Picture

The other hunters surround the old man and spur on their camels to listen to the mysterious story of the palace and hear tell of the nightly visions which, according to the peasantry, appear on its towers, and of the vain efforts of the Princesses of Asia to arouse the Sleeping Beauty.

The Prince continues to point to the palace, but no longer as though it was a prize to be conquered. Hearing the tale of the Sleeping Beauty, sacrificed in the full blush of youth to the wicked enchantment, his heart has filled with a heroic feeling of pity. He is resolved to venture all to save her.

6th Picture

Amid the acclamations of his suite, three knights offer to accompany the Prince, who spurs forward his horse, followed by his faithful bodyguard. The rest of the suite remains behind, feeling that the hunt has been spoilt, and turn wistful eyes on the slaughtered boars and deer.

7th Picture

The horses leave the path they have so far followed and pick a way through the wood overgrown by weeds. The branches of the thick growth strike their faces; trunks that have been smitten by lightning impede the way. Ahead of them all, the Prince rides forward on his splendid horse, heedless of all obstacles.

8th Picture

One of the horsemen, whose face has been cut by a passing branch, begs the Prince to turn back. The Prince in answer merely smiles contemptuously and signs to him to leave.

9th Picture

A bog appears. The trunks of trees stand out from it. For it is a submerged tract of the wood; giant crocodiles sleep with the heavy sleep that has invaded the palace; hippopotami, half immersed in the mud, are likewise still and petrified. To the right and left of the bog the wood, with its dried and seer trees close against one another, forms a wall which the horsemen stare at in dismay, realizing that they cannot possibly get through it.

The Prince talks with one of his two followers, discussing how they can get through the morass. The other loses heart, bows deeply, and takes himself off.

10th Picture

The Prince spurs on his horse and enters the bog, followed by the last horseman of his suite who has stuck to him; they pass, immersed up to the waist, amid the sleeping beasts, and reach the opposite bank.

11th Picture

The wood is veiled in unnatural darkness; from all sides confused forms appear, as of persons or clouds of mist that solidify around the horsemen and prevent their seeing; a will o’ the wisp advances and retreats along the road as though to mock the two adventurers.

12th Picture

The third hunter addresses the Prince earnestly, pointing out the risks of the enchanted region into which they have entered: a demoniacal land in which only death can await them. Tears run down his terrified face as he recalls the Prince’s parents who are awaiting his return.

As he is speaking other vague and errant forms pass between him and the Prince and terrify the horses, which rear and try to bolt.

13th Picture

The Prince listens calmly, while he holds firmly on the reins and forces his horse to stay quiet. He seizes the axe from his companion’s belt and grips it with a firm hand. He kisses his friend on the brow and seeks to enhearten him; then plunges alone into the wood, now followed, now preceded or accompanied by the shapeless forms that would impede his path, which he drives off with lusty blows.

14th Picture

The Prince has at last got through the savage forest and approaches the monumental stairway to the palace, bathed in the midday sun.

15th Picture

Extending his arms towards the palace, he salutes the moment of his victory, thanking the God of heroes and his own strong heart.

He then alights from his horse, and caresses it as the good friend of heroes, with his arms around its neck.

16th Picture

The Prince takes in at a glance the facade of the palace; he airily ascends the great stairway, whose marble flags are intergrown with weeds, and bangs at the door that stands solid as a rock.

17th Picture

He snatches the axe from his belt and deals blow after blow violently on the door, till it splinters and gives way.

18th Picture

The Prince enters an ample vestibule and comes to a second door, which he demolishes with his hands alone. He ascends the inner staircase.

19th Picture

.. .and reaches a magnificent hall in which there stands only a couch, that upon which, long years ago, the Princesses composed the Sleeping Beauty for her long slumber.

20th Picture

The lovely maiden lies asleep in the full beauty of her twenty summers. Her hair is unbound, the motionless folds of her tunic are composed around her, her hands crossed on her breast like a sleeping figure on a tomb, her shapely shadow is revealed on the wall as the Prince approaches her.

21st Picture

The Prince stands beside the Sleeping Beauty; he makes the sign of the Cross above the maiden; then slowly bending down over her, he kisses her on the lips.

22nd Picture

The Sleeper’s eyelids flutter; her head moves; her tresses stir on the pillow; her hands fall apart, while a smile appears on her lips, as though from the mysterious depths of some dream. Slowly the Sleeping Beauty rises on her couch.

Meanwhile the Prince’s hands are spread out over her. Seeing her move. . .

23rd Picture

…he assists her to rise. Standing on her feet she turns a puzzled look on the man who has rescued her; attempts to take her first steps as though she were just learning to walk; then touches the bed, and the walls of the room, as though to convince herself of their reality.

24th Picture

The Prince flings wide the windows. The sun — the foe of dreams — pours in in floods; the Princess gazes out at the forest and beholds the old familiar scenery as it was submerged in her memory a hundred years ago.

25th Picture

The Prince and Princess descend to the floor below, where the Princess’s parents are sleeping. As they approach the royal couple they stir, at first rise languidly, and then run towards their daughter with great signs of joy.

26th Picture

The royal couple and the Princes went their way downstairs and enter the other apartments where the guards are slumbering. They too awake, and, after a moment’s hesitation, come towards their liberators.

27th Picture

The royal couple, the Princes and the guards pass into the room where the sewing maids of the palace are sleeping their enchanted sleep — some with their needles raised ; others cutting out cloth, others trying gowns on a lay-figure. They make the same movements of surprise and indecision, and evince the same joy at being liberated.

28th Picture

The Royal couple, the Princess, the guards, and the maids penetrate into the colossal kitchen of the palace, where the chefs and cooks were overcome by sleep in the midst of their work: some skinning boars, others lighting the fires, others again preparing a magnificent cake. The same agitation, the same joy at being reawakened.

29th Picture

The crowd of the royalties and courtiers and servants enters the great central courtyard of the palace — the courtyard of the natal gifts. As they appear, the sleeping birds wake up and begin to sing ; from all sides the animals of the palace come running and flying in — splendid dogs, deer-hounds, bull-dogs, cats, doves, and chickens, to the amusement of all present.

In this scene of joy of men and beasts symbolic of all fables, the King blesses the princely couple, amid the acclamations of the people just awakened from their hundred years’ sleep.

 

 

Nuevo edición de Cartelera del cine en México, 1904 de Juan Felipe Leal

El Dr. Juan Felipe Leal acaba de publicar la tercera edición , corregida y ampliada, de su obra Cartelera del cine en México, 1904  bajo el sello editorial de Juan Pablos Editores y Voyeur. Incluyo los comentarios de Francisco Sánchez que aparecen en la cuarta de foros.

Cartelera del cine en México, 1904 Juan Felipe Leal

Modelo ejemplar de investigación sociológica y cultural es el que construye Juan Felipe Leal, quien en este segundo tomo de la colección Cartelera del cine en México, 1903-1911 rescata para placer de los espíritus curiosos el repertorio temático del cine inicial. Haciendo propias las palabras del autor, diremos que la mayor parte de la producción del cine primerizo fue no-ficcional (escenas de clowns, boxeadores, acróbatas, contorsionistas y prestidigitadores; exhibiciones de forzudos y animales amaestrados; danzas, actos de mímica, números de ilusionismo y magia; “travelogues”, “actualidades” y corridas de toros), y la menor parte de ella fue ficcional (“noticias reconstruidas”, anuncios publicitarios, escenas eróticas, relatos cómicos, pasiones cristianas, adaptaciones de clásicos de la literatura o del teatro y melodramas).  

Según advierte Leal, a partir de 1903 tuvo lugar un ascenso de las películas ficcionales y una caída de las vistas no-ficcionales. Transformación a la que correspondió un progresivo abandono de las funciones educativas, informativas y publicitarias del medio y un reforzamiento cada vez mayor de su papel de entretenimiento. Además, las cintas fueron incrementando su longitud: de los 30 o 40 segundos de duración de los primeros años se transcurrió al minuto y medio, a los 3 minutos, a los 5 minutos, a los 12 minutos, y así sucesivamente hasta llegar a verdaderos largometrajes.

El libro que el lector tiene en sus manos nos transporta —como en un viaje por medio de la máquina del tiempo ideada por H.G. Wells— al cine de los orígenes, que se presentaba como un compendio de temas y motivos sacados de las tradiciones culturales más variadas, desde el periodismo hasta la literatura clásica e infantil, desde el circo y el teatro de variedades hasta la linterna mágica, desde el turismo hasta la narrativa religiosa. Todo esto lo recrea Juan Felipe Leal en detalle y profundidad. Mas no sólo nos ofrece sus textos, sino también una abundante recopilación de fotogramas, fotografías, estampas, grabados, dibujos, carteles, programas de mano y anuncios publicados en revistas y periódicos. Imágenes, en suma, que recogen el espíritu de una época. Cartelera del cine en México, 1904 es así un objeto de colección y la serie completa a la que pertenece —que llegará a doce volúmenes— lo es aún más. 

                            Francisco Sánchez

 

Viaje a la luna (1929) de Federico García Lorca

La estancia de Federico García Lorca en Nueva York a fines de los años treinta del siglo pasado le permitió crear algo más que Poeta en Nueva York y El Público. En la urbe de hierro Lorca escribió su único guión de cine, desafortunadamente poco conocido: Viaje a la luna.

Es difícil definir qué es esta obra lorquiana, pues escapa a los encasillamientos. Sin embargo Daniel Gastaldello en su ensayo Narrativa del pánico. Viaje a la luna de García Lorca: la dimensión política de un proyecto de guión cinematográfico nos acerca un poco, o al menos eso intenta:

Federico García Lorca
Federico García Lorca

Viaje a la luna es un texto extraño ya desde su forma. Se trata de 71 frases, versos, párrafos, escenas, cuadros… no sabría cómo definirlos. Lo cierto es que presentó un problema para algunos críticos, esforzados por definir el texto desde la especificidad de estos fragmentos de texto, y lo curioso es que un vez definidos, recortan considerablemente la mirada sobre la escritura misma.

Compuesto por un total de 71 (en algunos casos se habla de 72) escenas muy breves, por llamarlas de alguna forma y escritas en solo un par de días, Lorca entregó el guión de Viaje a la Luna a su amigo el pintor y realizador mexicano Emilio Amero. La idea era que hiciera con el guión lo que quisiera. La obra fue el resultado de varias conversaciones en las que habían intercambiado impresiones sobre el cine de vanguardia. En la atmósfera cultural neoyorquina flotaba aún, punzante y cálida, la letanía de de provocaciones producidas por de El Perro Andaluz de Buñuel y Dalí; y Lorca no era del todo ajeno los recientes experimentos de poesía cinematográfica que se llevaban a cabo en Francia o Alemania.

Guillermo Sheridan apunta en su ensayo Gilberto Owen y Federico García Lorca viajan a la luna (Vuelta # 258, mayo 1998) que, entre las correrías habituales de García Lorca en Nueva York, además de los night-clubs donde escuchaba a los negros tocar jazz, se encontraba el parque de atracciones de Coney Island, donde aún existía una vieja atracción, ya un poco venida a menos, llamada precisamente A Trip to the Moon. Se trataba de un “complejo ciclorama que emulaba un viaje a nuestro satélite: una montaña rusa con varias paradas en las que, entre otras cosas, unas chicas (selenitas) daban unos pasos de baile, y donde al final del recorrido se entregaba un trozo de queso a los visitantes, que según dicen, salían muy mareados.” Sheridan nos relata una trama detectivesca, pues narra que también Gilberto Owen produjo un trabajo similar al de García Lorca, además de haberlo escrito con anterioridad.

"Autorretrato en Nueva York" (1929). Dibujo de Federico García Lorca
“Autorretrato en Nueva York” (1929). Dibujo de Federico García Lorca

El Viaje a la luna de García Lorca es, “por supuesto, un viaje interior: largos pasillos, peces, escaleras, ascensores que suben a la noche, mujeres de luto, arlequines, muñecos anatómicos, y una luna que siempre huye vertiginosamente. Se trata pues de los mismos referentes que siempre hemos identificado en Poeta en NY o en El Público: el deseo, la identidad, la angustia, el amor…”

Casi toda la obra de García Lorca es una portentosa construcción de imágenes, y Viaje a la luna, en tanto que guión para el cine, es por tanto un caso excepcional.

Emilio Amero guardó el manuscrito de García Lorca toda su vida. Tras la muerte del poeta hizo un vago intento de rodar el guión, como gesto de protesta, pero lo cierto es que el guión permaneció en un cajón hasta la muerte de Amero. El manuscrito fue finalmente adquirido por la Biblioteca Nacional de Madrid en 1989 gracias a los oficios de Christopher Maurer, y en 1995 la editorial Pre-textos sacó a la luz la primera edición fiable de la obra, con introducción de Antonio Monegal, notas y reproducción completa del manuscrito original, incluyendo además dos dibujos de Lorca que, según reza en el guión, debían aparecer en determinados momentos fundidos a las imágenes del film.

De la primera edición, Monegal escribe que:

los textos más rodeados y preñados de misterio de la obra lorquiana, de los que más viscisitudes han pasado, más problemas textuales presentan y a la vez más oscuros son, resulten ser el producto de un viaje del poeta: ese viaje físico a Nueva York en 1929 que marca también una mudanza en su trayectoria estética.

Solo unos renglones escribió el poeta andaluz sobre esta obra – su único guión para cine. En una carta a Salvador Dalí fechada en “Granada, verano de 1930” y recogida en Epistolario completo, el mismo García Lorca agrega un dilema más:

Deseo que conozcas mis cosas nuevas, así como una pequeña película que he hecho con un poeta negro de Nueva York, que se estrenará cuando yo vuelva en un cine admirable de la Calle 8…

¿Quién es el poeta negro al cuál se refiere? Lo más probable, según confirma Sheridan es que García Lorca utilice el término “negro” como sinónimo de marginado, tal y como se desprende de una entrevista que dio a Gil Benumeya en 1931: “Yo creo que el ser de Granada me inclina a la comprensión simpática de los perseguidos, del gitano, del negro, del judío o del morisco que todos llevamos dentro.”

Abilio Hernández Cardoso en su ensayo Viaje a la luna de Federico García Lorca: la pulsión de la escritura bajo el deseo del film destaca:

El texto de Lorca instituye un mundo complejo e inestable, materializado en imágenes que se mueven en permanente dislocación, portadoras de una legibilidad suspensa, como si fuesen anamorfosis, y que se organizan en secuencias que aparentan poder prolongarse de un modo infinito.

(Un fragmento del texto: de la secuencia 6 hasta la 13 a modo de ejemplo).

En 1998, y como añadido a las grandes festividades en torno al aniversario del nacimiento del poeta, el pintor, escenógrafo y cineasta catalán Frederic Amat decidió, tras un minucioso estudio del texto, embarcarse en el rodaje del guión. La productora Ovideo, junto con la Fundación Federico García Lorca y la RTVA coprodujeron un cortometraje de 18 minutos que por desgracia ha sido poco difundido y por ende poco visto.

Al parecer, Frederic Amat comenzó el rodaje del guión en colaboración con el realizador y periodista Javier Martín Domínguez, pero no debían tener la misma visión acerca de la materia prima, ya que cada uno de ellos terminó realizando su propio proyecto. Amat recibió el apoyo institucional. De la cinta de Martín Domínguez apenas se sabe nada, y tampoco a nadie parece importarle, pues ambas cintas deberían ser promovidas, pero la Filmoteca de Andalucía no compra ninguna de las obras. Ello no deja de causarme estupor. Me parece triste que solo una de las dos versiones del guión recibiera bendición y cheque (así son las efemérides), pero casi setenta años después de su redacción, el Viaje a la luna podía reinventarse de muchos modos, y es por eso que ambas versiones merecen atención.

De hecho, aunque la versión de Amat ha pasado a considerarse de algún modo la oficial, la cinta de este artista multidisciplinar, que contó con la ayuda de Cesc Gelabert para las coreografías y con la música de Pascal Comelade para la banda sonora, es bastante personal. Amat sin duda vio en el proyecto la oportunidad única que constituía, ya que el Viaje a la Luna es de por sí un poema excepcional, un guión que en determinados aspectos es muy preciso y en otros es deliciosamente ambiguo (lo que le permitía un amplio radio de recreación e interpretación), y una apasionante encrucijada entre lo gráfico (por los propios dibujos de García Lorca), lo literario, y lo cinematográfico.

A continuación reproduzco Viaje a la luna:

1

Cama blanca sobre una pared gris. Sobre los paños surge un baile de números 13 y 22. Desde dos empiezan a surgir hasta que cubren la cama como hormigas diminutas.

2

Una mano invisible arranca los paños.

3

Pies grandes corren rápidamente con exagerados calcetines de rombos blancos y negros.

4

Cabeza asustada que mira fija un punto y se disuelve sobre una cabeza de alambre con un fondo de agua.

5

Letras que digan Socorro Socorro Socorro con doble exposi­ción sobre un sexo de mujer con movimiento de arriba abajo.

6

Pasillo largo recorrido por la máquina con ventana de final.

7

Vista de Broadway de noche con movimiento de tic‑tac. Se di­suelve en el anterior.

8

Seis piernas oscilan con gran rapidez.

9

Las piernas se disuelven sobre un grupo de manos que tiem­blan.

10

Las manos que tiemblan sobre una doble exposición de un niño que llora.

11

Y el niño que llora sobre una doble exposición de una mujer que le da una paliza.

12

Esta paliza se disuelve sobre el pasillo largo otra vez, que la máquina recorre con rapidez.

13

Al final un gran plano de un ojo sobre una doble exposición de peces, y se disuelve sobre el siguiente.

14

Caída rápida por una montaña rusa en color azul con doble exposición de letras de Socorro Socorro.

15

Cada letrero de Socorro Socorro se disuelve en la huella de un pie.

16

Y cada huella de pie en un gusano de seda sobre una hoja en fondo blanco.

17

De los gusanos de seda sale una gran cabeza muerta y de la cabeza muerta un cielo con luna.

18

La luna se corta y aparece un dibujo de una cabeza que vo­mita y abre y cierra los ojos y se disuelve sobre

19

dos niños que avanzan cantando con los ojos cerrados.

20

Cabezas de los niños que cantan llenas de manchas de tinta.

21

Un plano blanco sobre el cual se arrojan gotas de tinta.

(Todos estos cuadros rápidos y bien ritmados.)

Aquí un letrero que diga No es por aquí.

22

Puerta.

23

Sale un hombre con una bata blanca. Por el lado opuesto vie­ne un muchacho desnudo en traje de baño de grandes cua­dros blancos y negros.

24

Gran plano del traje de cuadros sobre una doble exposición de un pez.

25

El hombre de la bata le ofrece un traje de arlequín pero el mu­chacho rehúsa. Entonces el hombre de la bata lo coge por el cuello, el otro grita, pero el hombre de la bata le tapa la boca con el traje de arlequín.

26

Gran plano de manos y traje de arlequín apretando con fuer­za.

27

Se disuelve sobre una doble exposición de serpientes de mar del aquárium y éstas en los cangrejos del mismo aquárium y éstos en otros peces con ritmo.

28

Pez vivo sostenido en la mano en un gran plano hasta que muera y avance la boquita abierta hasta cubrir el objetivo.

29

Dentro de la boquita aparece un gran plano en el cual saltan, en agonía, dos peces.

Éstos se convierten en un caleidoscopio en el que cien peces saltan o laten en agonía.

30

Letrero: Viaje a la luna.

Habitación. Dos mujeres vestidas de negro lloran sentadas con las cabezas echadas en una mesa donde hay una lámpa­ra. Dirigen las manos al cielo. Planos de los bustos y las ma­nos. Tienen las cabelleras echadas sobre las caras y las manos contrahechas con espirales de alambre.

31

Siguen las mujeres bajando los brazos y subiéndolos al cielo.

32

Una rana cae sobre la mesa.

33

Doble exposición de la rana vista enorme sobre un fondo de orquídeas agitadas con furia.

Se van las orquídeas y aparece una cabeza enorme dibujada de mujer que vomita que cambia de negativo a positivo y de positivo a negativo rápidamente.

34

Una puerta se cierra violentamente y otra puerta y otra y otra sobre una doble exposición de las mujeres que suben y bajan los brazos.

Al cerrarse cada puerta saldrá un letrero que diga: Elena Helena elhena eLHeNa.

35

Las mujeres se dirigen rápidamente a la puerta.

36

La cámara baja con gran ritmo acelerado las escaleras y con doble exposición las sube.

37

Triple exposición de subir y bajar escaleras.

38

Doble exposición de barrotes que pasan sobre un dibujo:

Muerte de Santa Rodegunda.

39

Una mujer enlutada se cae por la escalera.

40

Gran plano de ella.

41

Otra vista de ella muy realista. Lleva pañuelo en la cabeza a la manera española. Exposición de las narices echando san­gre.

42

Cabeza boca abajo de ella con doble exposición sobre un di­bujo de venas y granos gordos de sal para el relieve.

43

La cámara desde abajo enfoca y sube la escalera. En lo alto aparece un desnudo de muchacho. Tiene la cabeza como los muñecos anatómicos con los músculos y las venas y los ten­dones. Luego sobre el desnudo lleva dibujado el sistema de la circulación de la sangre y arrastra un traje de arlequín.

44

Aparece de medio cuerpo. Y mira de un lado a otro. Se di­suelve sobre una calle nocturna.

45

Ya en la calle nocturna hay tres tipos con gabanes que dan muestras de frío. Llevan los cuellos subidos. Uno mira la luna hacia arriba levantando la cabeza y aparece la luna en la pan­talla, otro mira la luna y aparece una cabeza de pájaro en gran plano a la cual se estruja el cuello hasta que muera ante el objetivo, el tercero mira la luna y aparece en la pantalla una luna dibujada sobre fondo blanco que se disuelve sobre un sexo y el sexo en la boca que grita.

46

Huyen los tres por la calle.

47

Aparece en la calle el hombre de las venas y queda en cruz. Avanza en saltos de pantalla.

48

Se disuelve sobre un cruce en triple exposición de trenes rápi­dos.

49

Los trenes se disuelven sobre una doble exposición de tecla­dos de pianos y manos tocando.

50

Se disuelve sobre un bar donde hay varios muchachos vesti­dos de esmoquin. El camarero les echa vino pero no pueden llevarlo a su boca. Los vasos se hacen pesadísimos y luchan en una angustia de sueño. Entra una muchacha casi desnuda y un arlequín y bailan en ralentí. Todos prueban a beber pero no pueden. El camarero llena sin cesar los vasos, que ya están llenos.

51

Aparece el hombre de las venas gesticulante y haciendo señas desesperadas y movimientos que expresan vida y ritmo acele­rado. Todos los hombres se quedan adormilados.

52

Una cabeza mira estúpidamente. Se acerca a la pantalla y se disuelve en una rana. El hombre de las venas estruja la rana con los dedos.

53

Sale una esponja y una cabeza vendada.

54

Se disuelve sobre una calle. La muchacha vestida de blanco huye con el arlequín.

55

Aparece una cabeza que vomita. Y en seguida toda la gente del bar que vomita.

56

Se disuelve sobre un ascensor donde un negrito vomita. La muchacha y el arlequín suben en el ascensor.

57

Suben en el ascensor y se abrazan.

58

Plano de un beso sensual.

59

El muchacho muerde a la muchacha en el cuello y tira violen­tamente de sus cabellos.

60

Aparece una guitarra. Y una mano rápida corta las cuerdas con unas tijeras.

61

La muchacha se defiende del muchacho, y éste con gran furia le da otro beso profundo y pone los dedos pulgares sobre los ojos como para hundir los dedos en ellos.

62

Grita la muchacha y el muchacho de espaldas se quita la ame­ricana y una peluca y aparece el hombre de las venas.

63

Entonces ella se disuelve en un busto de yeso blanco y el hom­bre de las venas la besa apasionadamente.

64

Se ve el busto de yeso con huellas de labios y huellas de ma­nos.

65

Vuelven a salir las palabras Elena elena elena elena.

66

Estas palabras se disuelven sobre grifos que echan agua de manera violenta.

67

Y estos grifos sobre el hombre de las venas muerto sobre pe­riódicos abandonados y arenques.

68

Aparece una cama y unas manos que cubren un muerto.

69

Viene un muchacho con una bata blanca y guantes de goma y una muchacha vestida de negro. Pintan un bigote con tinta a una cabeza terrible de muerto. Y se besan con grandes risas.

70

De ellos surge un cementerio y se les ve besarse sobre una tumba.

71

Plano de un beso cursi de cine con otros personajes.

72

Y al final con prisa la luna y árboles con viento.

La muerte del cine mudo (minificción)

La muerte del cine mudo*

Amélie Olaiz

Charlie Chaplin come un zapato en la clásica escena de La quimera del oro (1925)

El hombre abandona el viejo cartel y entra a la sala del cine. Camina por el pasillo central. Lleno de asombro observa que su silueta no se recorta sobre la pantalla.

Durante la escena de las explosiones, asustado, se oculta tras una butaca. Saca la cabeza y mira hacia los lados. Del suelo recoge dos palomitas de maíz que coloca en sus orejas. Se incorpora para observar la balacera, tapando, de hito en hito, su cara con los brazos. Permanece absorto unos minutos. Mueve su pequeño y tupido bigote, gira sobre sus talones y se enfila hacia la salida. Con el frac raído, su bombín sobre el pecho y el bastón en la mano, va decidido a guardar un milenio de silencio.

* Minificción tomada del blog Químicamente impuro.