16.7.09
La épica según Eastwood
El director, adoptando la recomendación de Mandela, apela a los corazonesEDUARDO GALÁN «No hay que apelar a su razón, sino a sus corazones». «El factor humano» (Seix Barral), de John Carlin, recoge este consejo de Nelson Mandela, que se refiere a la manera de aunar al dividido pueblo sudafricano alrededor de una sola causa: la victoria de su selección en el Mundial de rubgy de 1995.
En su excepcional novela (o excepcional reportaje, habría que emparentarlo con el «nuevo periodismo» de Tom Wolfe) Carlin opta por la razón. Con su escalpelo de periodista-protagonista (vivía en el país sudafricano en esa época), el inglés desgrana desde diversos ángulos los quehaceres de reunificar pacíficamente a una nación rota.
Le preocupa a «El factor humano» presentar hechos (aunque éstos escarben en décadas previas, aunque éstos se salgan del discurso oficial) y «razonar» cómo Mandela, y su milimetrada mezcla de encanto y política (encanto político más política encantadora), consiguió juntar a enemigos irreconciliables con tal de moldear un futuro para Sudáfrica.
En cambio, adoptando la recomendación del ex presidente sudafricano, Clint Eastwood apela a los corazones. «Invictus» no intenta mostrar la multiplicidad y la complejidad de los acontecimientos (objetivo reservado al reportaje periodístico), sino que apuesta por un relato de superación, arrimándose en fondo y formas a otras películas «épico-deportivas» («Evasión o victoria», de John Huston; «Hoosiers», de David Anspaugh, o, el paroxismo, «Campeón», de Franco Zeffirelli).
Así, el rugby monopoliza la cinta, estructurada por entrenamientos, partidos, negociaciones y contadas concesiones al laberíntico statu quo político (varias de ellas, en un filo peligroso: esa trabajadora negra de un hogar blanco a la que sus jefes le regalan una entrada para ir «en familia» a disfrutar de la final).
Suspende Eastwood los propósitos de Carlin (desaparecen las digresiones temporales, salvo en una mirada superficial a la isla de Robben; desaparecen los personajes tangenciales: líderes afrikaaners y anti-apartheid) y circula por las dos figuras que simbolizan los planos esenciales de la novela: Nelson Mandela (un mimético Morgan Freeman, en «su» papel), como ese mundo negro que busca el entendimiento, y François Pienaar (un dubitativo Matt Damon), el capitán de los Springboks, como esa nueva generación de blancos dispuestos a convivir en paz.
Pero no es la épica per se de «Invictus» el detonante que la hace desmerecer frente a la brillante filmografía de cineasta norteamericano. «Gran Torino», «Banderas de nuestros padres» o «Un mundo perfecto» contienen diferentes ejemplos de esa lucha individual contra los elementos que a Eastwood tanto le gusta y que a algunos sólo les gusta cuando acaba en derrota.
El problema está en la (sobre)dosis de épica. Al desarrollar «Invictus», Clint se asemeja a W. W. Beauchamp, el torpe biógrafo de Bob «el Inglés» (Richard Harris) en «Sin perdón». Sin una mínima distancia emocional que produzca personajes contradictorios (o sin un «Little» Big Dagget, o sin un John Carlin que le aleje de sus retratados) y en un siglo propenso a desautorizar a los héroes (hoy hasta Superman debe poseer un oscuro pasado), su película se ¿reduce? a un digno «pulp fiction» sobre un vaquero pacífico que salvó Sudáfrica con un revólver de pega, con un arma política de marca Rugby
http://www.lne.es/sociedad-cultura/2010/01/30/epica-eastwood/866499.html
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