10 years ago I won an Oscar for 'The secret of his eyes'. Now, after a lot of television and an animated film, he returns with 'El cuento de las comadrejas', a black comedy (or tragedy) that is at the same time a claim to cinema
Juan Jos Campanella (Buenos Aires, 1959) wears rigorous black. It will be said that, like many of his characters, he does it to mislead. Thus, laughter is seen more. l, like the real humorists (the sad ones), is convinced that to really laugh you have to be able to catch the pain and play with it. The quotation marks, not in vain, is by Chaplin and, in his way, makes good the division of genres attributed to Mark Sennett, master of all. In his endeavor to clarify to the world why the misfortune (alien) makes us so funny, Sennett divides his cinema in two. On the one hand, there are the films in which people walk until they fall into a ditch. And he dies. That, deca, is a comedy. The tragedy, he added, is for a stepfather to come out on a finger. People like to see things go wrong … and they get worse, deca. And oh I left it.
The tale of the weasels, the expected return to the cinema of the director of The Secret in Their Eyes, has something of all the above. That's why maybe the mourning. The first idea of the film, recalls Campanella, was a long time ago. I was in Los Angeles and spent every day in the house of Billy Wilder. I thought about his movie Love in the afternoon (Ariane is your title in Spain). One thing led to the other until I had a question: How would it be if Lubitsch had been commissioned a black comedy from Ealing Studios?. Otherwise, simple was not the start.
The fact is that after 10 years away from cinema in the strict sense, Campanella returns. So I needed a good story and an excellent alibi, although it would cost to explain it with ease. It was in 2009 when I got the Oscar to the film in non-English. Then there will be an infinite number of works for television and the animated film Soccer (2013) … I needed to feel … he says. And the need came with the same cinema. Actually, The tale of the weasels it's just that: cinema, the expression of the need for cinema, he affirms, he takes a second and adds: It is nothing more than a dedicated vindication of the classic manners. And by classic cinema I understand that it introduces us into a different and new world that was not necessarily fantasy. It was a world that worked like a mirror that improved reality and offered us a compass to guide us through it. They were bigger movies than life itself. I speak, in fact, of Lubitsch, of Billy Wilder, of Frank Capra … I speak of authors such as George S. Kaufman and Moss Hart … And in the ellipses he is adding names between fruition and guilt.
The tape, to situate us, tells the story of four almost elderly. One is a film director (scar Martnez); another, screenwriter (attentive to Marcos Mundstock, better known as Les Luthiers); another, actor (Luis Brandoni), and the last, incessible diva (Gabriela Borges). All of them live retired and lamindose the wounds of a time of glory. Until, suddenly, they receive the visit of two young people seconded by their bad and very black intentions (Clara Lago and Nicols Francella). What follows is perfectly written cinema in each of its replicas. It is cinema that remembers, again, the trica and cmica at the same time necessity of the cinema. It's comedy because people die. And tragedy because, despite this, there is no other alternative but to laugh. Heartily. By the way, the tape is remake of an old Argentine classic that attends to the name of The boys of before did not use arsnico. Classical by classic.
The truth is that I made the film to find the real reasons for my job. I do not go to the movies anymore … I get tired of going to the movies to get bored. The cinema has stopped making films with people. The good dialogue has disappeared because, they say, it has to be translated into a thousand languages. If you look at the 10 films on the billboard with more success or are superhuman or animation. Before, winning an Oscar was a guarantee of success. This year, however, Green Book, of which I loved its simplicity, it was not even among those 10 views, he says. And add (lase in reprimand tone): The public is wrong if you think that the cinema is for the great show. The cinema is for big emotions. Do not eat the same way in your house as in the movies. You do not cry I do not know anyone who cries for a television series. If you cry because it is bad, not because you have to get excited.
– I do not understand. But have not you made a lot of series yourself?
– Yes, but you have to be realistic. Nine out of 10 series that are made are garbage. Neither comedies make grace nor dramas excite. The market, I imagine, end up discriminating.
If you like, and to pick up a slightly less tense thread, The tale of the weasels recovers much of the obsessions of his best cinema. The love that is prolonged in years, the friendship that lasts decades, the time that eats time … Yes, but I do not think I make films from or about old people. I prefer to think that I make them about eternity, comments and re. I like to think that the actors contribute a baggage, that you see them and you understand quickly that a history, their history, their work supports them … Pause. There are no longer great movie stars below the age of, say, Brad Pitt. Above they are all interchangeable. Can anyone distinguish the one who plays Captain America from the one who plays Thor? Does anyone know what they are called ?. Otherwise … to Sennett's ditch.
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(tagsToTranslate) culture / movies (t) Cineseries