‘Film noir’, lucha obrera y épica brechtiana en ‘La verdad sobre el caso Savolta’, de Antonio Drove
2017; Facultad de Comunicación y Relaciones Internacionales Blanquerna, Universidad Ramon Llull; Issue: 41 Linguagem: Inglês
ISSN
2340-5007
Autores Tópico(s)Spanish History and Politics
ResumoEl acercamiento formal de Antonio Drove al cine negro en La verdad sobre el caso Savolta (1978) choca con practicamente todo lo visto anteriormente en el cine espanol. Asi lo vio la critica de la epoca y asi se mantiene a dia de hoy, como una pelicula que mezcla el genero historico con el thriller y el cine politico en una fructifera amalgama de referentes esteticos de diversa indole que pudo abrir un camino (no continuado) de renovacion para las formas del cine espanol durante la Transicion. La conflictiva y caotica produccion del filme, visiblemente relacionada con su incomoda orientacion de izquierdas, pone de relieve el inevitable reflejo que el relato historico (en torno a la fragua de un incipiente fascismo que derivaria en la dictadura de Primo de Rivera) ofrece respecto al complejo momento de su realizacion. El analisis textual de la pelicula pretende arrojar luz sobre las intenciones y estrategias narrativas del cineasta a la hora de abordar su trabajo mas personal y ambicioso, partiendo de la novela de Eduardo Mendoza como base sobre la que edificar un discurso mas influido por la obra y la postura de Bertolt Brecht. Film noir, Workers’ Struggle and Brechtian Epic in Antonio Drove’s ‘La verdad sobre el caso Savolta’ Antonio Drove’s formal approach to film noir in La verdad sobre el caso Savolta (The Truth about the Savolta Case, 1978) clashes with virtually everything ever seen before in Spanish cinema. Critics at the time, like those today, saw it as a blend of historical fiction, thriller and political cinema in a fruitful amalgam of diverse aesthetic references, which might have opened a pathway (which was never followed) towards the renewal of the different forms of Spanish cinema during the Transition. The chaos and controversy surrounding the production of the film, clearly due to its uncomfortable left-wing orientation, highlight the fact that this historical account (of the emergence of early fascism that would lead to Primo de Rivera’s dictatorship) is an unavoidable reflection of the complicated times in which it was made. The textual analysis of the film sets out to shed light on the filmmaker’s intentions and the narrative strategies with which he undertook his most personal and ambitious project, using Eduardo Mendoza’s novel as a basis upon which to build a discourse more strongly influenced by the work and thought of Bertolt Brecht.
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