{"id":7849,"date":"2015-09-28T15:23:34","date_gmt":"2015-09-28T15:23:34","guid":{"rendered":"https:\/\/www.revistarambla.com\/irrational-man-woody-allen-2015\/"},"modified":"2021-04-21T19:40:17","modified_gmt":"2021-04-21T17:40:17","slug":"irrational-man-woody-allen-2015","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/irrational-man-woody-allen-2015\/","title":{"rendered":"Irrational man (Woody Allen, 2015)"},"content":{"rendered":"

\"alt\"<\/p>\n

En el filo<\/span> de la navaja<\/span> entre<\/span> lo \u00edntimo<\/span> y lo divulgado<\/span>, el \u00e9xito<\/span> o fracaso<\/span> de una<\/span> persona puede<\/span> estar<\/span> solamente<\/span> determinado<\/span> por<\/span> un hecho<\/span> concreto<\/span>, por<\/span> el lado<\/span> de la barandilla<\/span> en el que<\/span> caiga<\/span> el anillo<\/span>. Incluso<\/span> los conceptos<\/span> de \u00e9xito<\/span> o fracaso<\/span> resultar\u00edan<\/span> ineficaces<\/span> para<\/span> una<\/span> persona. \u00bfQu\u00e9<\/span> es<\/span> el \u00e9xito<\/span>? \u00bfQu\u00e9<\/span> es<\/span> el fracaso<\/span>? \u00bfHasta<\/span> d\u00f3nde<\/span> \u00e9xito<\/span> o fracaso<\/span> los determina<\/span> el clich\u00e9<\/span>, el concepto<\/span> social, la conveniencia<\/span> de hacer<\/span> o conseguir<\/span>\u00a0 lo que<\/span> quiere<\/span> la mayor\u00eda<\/span>? Cuando<\/span> una<\/span> persona es<\/span> capaz<\/span> de pensar<\/span> que<\/span> la vida<\/span> no tiene<\/span> sentido<\/span> el shock puede<\/span> ser<\/span> devastador<\/span> y para<\/span> ello<\/span> no vale ni<\/span> el \u00e9xito<\/span> ni<\/span> el fracaso<\/span>. Llevado<\/span> a sus<\/span> \u00faltimas<\/span> consecuencias<\/span> pensar<\/span> que<\/span> vivir<\/span> no tiene<\/span> nada de trascendente<\/span>, ni<\/span> de perdurable, ni<\/span> una<\/span> meta que<\/span>, traspasada<\/span>, determine que<\/span> has conseguido<\/span> el objetivo<\/span> o no, deber\u00eda<\/span> provocar<\/span> una<\/span> seria<\/span> reflexi\u00f3n<\/span> sobre<\/span> el suicidio<\/span>, ah\u00ed<\/span> se encuentra<\/span> Abe, profesor<\/span> universitario<\/span>, sin acuciantes<\/span> problemas<\/span> de dinero<\/span>, deseado<\/span> por<\/span> las<\/span> mujeres, todo<\/span> parecer\u00eda<\/span> indicar<\/span> que<\/span> no existe<\/span> excusa<\/span> para<\/span> su<\/span> agotamiento<\/span> vital, para<\/span> su<\/span> renuncia<\/span> a disfrutar<\/span> de la vida<\/span>.<\/p>\n

Al personaje<\/span> que<\/span> interpreta<\/span> Joaqu\u00edn<\/span> Phoenix se le han<\/span> acabado<\/span> las<\/span> ganas<\/span> de vivir<\/span>, o eso<\/span> dice. Su pose autodestructiva<\/span> puede<\/span> tener<\/span> algo<\/span> de afectada<\/span> y falsa<\/span>, pero<\/span> mientras<\/span> vende<\/span> su<\/span> mirada<\/span> de cordero<\/span> degollado<\/span>, se instala<\/span> en un nuevo<\/span> campus con una<\/span> fama<\/span> de mujeriego<\/span> que<\/span> le precede, y no oculta<\/span> su<\/span> afici\u00f3n<\/span> al alcohol desmesurada<\/span>. Con un curriculum de seducci\u00f3n<\/span> de alumnas<\/span> y problemas<\/span> con el alcohol parece<\/span> complicado<\/span> que<\/span> sea contratado<\/span> por<\/span> ninguna<\/span> universidad<\/span>, pero<\/span> necesitamos<\/span> ubicar<\/span> al espec\u00edmen<\/span> en un nuevo<\/span> h\u00e1bitat<\/span> para<\/span> que<\/span> se aclimate<\/span> y demuestre<\/span> su<\/span> potencial<\/span>. O\u00eddo<\/span> como<\/span> profesor<\/span> no aceptar\u00edamos<\/span> que<\/span> por<\/span> su<\/span> sabidur\u00eda<\/span> fuera<\/span> capaz<\/span> de interesar<\/span> a ninguna<\/span> de sus<\/span> alumnas<\/span>, as\u00ed<\/span> que<\/span> ser\u00e1n<\/span> las<\/span> argucias<\/span> m\u00e1s<\/span> viejas<\/span> en la historia<\/span> de la humanidad<\/span> las<\/span> que<\/span> utilice<\/span>, el halago<\/span> y la autocompasi\u00f3n<\/span>, consciente<\/span> o no son sus<\/span> armas<\/span> para<\/span> que<\/span> Jill se fije<\/span> en \u00e9l<\/span>. M\u00e1s<\/span> discutible<\/span> a\u00fan<\/span> es<\/span> la presencia<\/span> de la profesora<\/span> dispuesta<\/span> a romper su<\/span> mon\u00f3tona<\/span> vida<\/span> diaria<\/span> compartiendo<\/span> proyecto<\/span> de futuro<\/span> con Abe.<\/p>\n

Abe (Joaquin Phoenix) flirtea<\/span> a sabiendas<\/span> con Jill (Emma Stone), aparenta<\/span> pocas<\/span> ilusiones<\/span> y necesita<\/span> un aliciente<\/span> vital, algo<\/span> que<\/span> le haga<\/span> dar<\/span> sentido<\/span> a una<\/span> vida<\/span> que<\/span>, vista hac\u00eda<\/span> atr\u00e1s<\/span> carece<\/span> de perspectiva<\/span> apetecible<\/span> y que<\/span> mirando<\/span> hacia<\/span> delante<\/span> ha consumido<\/span> los mejores<\/span> a\u00f1os<\/span>. Surge el dilema<\/span> moral de un profesor<\/span> de filosof\u00eda<\/span> que<\/span>, previamente<\/span>, ha planteado<\/span> en su<\/span> clase<\/span>, de otra<\/span> manera<\/span>, bajo<\/span> la apariencia<\/span> del imperativo<\/span> categ\u00f3rico<\/span> de Kant, la trama<\/span> de la pel\u00edcula<\/span>, si<\/span> nadie<\/span> puede<\/span> mentir<\/span> y un criminal te<\/span> preguntara<\/span> donde<\/span> se esconde<\/span> la v\u00edctima<\/span> y tu<\/span> lo sabes<\/span> estar\u00edas<\/span> obligado<\/span> a revelarlo<\/span> para<\/span> no faltar<\/span> a ese<\/span> imperativo<\/span>, pero<\/span> quiz\u00e1s<\/span>\u00a0 en ese<\/span> mundo<\/span> ideal no hubiera<\/span> crimen<\/span> ni<\/span> fuera<\/span> necesario<\/span> el castigo<\/span>. Es<\/span> decir<\/span>, los axiomas<\/span> filos\u00f3ficos<\/span> est\u00e1n<\/span> muy<\/span> bien<\/span> para<\/span> sesudas<\/span> charlas<\/span> intelectuales<\/span>, pero<\/span> la vida<\/span> tiene<\/span> otros<\/span> condicionantes<\/span> marcados<\/span> por<\/span> el dinero<\/span>, el sexo<\/span>, las<\/span> pasiones<\/span>, el poder<\/span>, frente<\/span> a los que<\/span> una<\/span> vida<\/span> guiada<\/span> por<\/span> los principios<\/span> absolutos<\/span> de la filosof\u00eda<\/span> y de la moralidad<\/span> est\u00e1<\/span> destinada<\/span> al fracaso<\/span>.<\/p>\n

Allen introduce el azar<\/span> en su<\/span> pel\u00edcula<\/span> para<\/span> estimular<\/span> la vida<\/span> de Abe, como<\/span> si<\/span> quisiera<\/span> ser<\/span> Rohmer<\/span>, o como<\/span> en las<\/span> novelas<\/span> de Auster<\/span>, pero<\/span> su<\/span> introducci\u00f3n<\/span> es<\/span> tan forzada<\/span> que<\/span> resiente<\/span> su<\/span> credibilidad<\/span>. Los mcguffin<\/span> funcionan<\/span> as\u00ed<\/span>, o te<\/span> los crees<\/span> y la historia<\/span> va<\/span> rodada<\/span> (qu\u00e9<\/span> decir<\/span> del inexistente<\/span> Mr. Kaplan de Hitchcock) o resultan<\/span> tan poco<\/span> convincentes<\/span> que<\/span> los entiendes<\/span> como<\/span> un mal recurso<\/span> para<\/span> dar<\/span> continuidad<\/span> a la historia<\/span>. Allen necesita<\/span> asideros<\/span> durante<\/span> la pel\u00edcula<\/span> para<\/span> que<\/span> la endeble<\/span> armaz\u00f3n<\/span> no se le venga<\/span> abajo<\/span>, uno<\/span> es<\/span> ese<\/span> azar<\/span> fortuito<\/span> y exagerado<\/span>, otro<\/span> la presencia<\/span> de la profesora<\/span> universitaria<\/span> que<\/span> ayuda<\/span> a desvelar<\/span> lo que<\/span> nadie<\/span> conoce<\/span> sin que<\/span> ella<\/span> se de cuenta<\/span>. Ese<\/span> azar<\/span> que<\/span> da<\/span> sentido<\/span> temporal a la vida<\/span> de Abe se sit\u00faa<\/span> en el universo<\/span> de la ponderaci\u00f3n<\/span> de valores<\/span>, cuando<\/span> los valores<\/span> son relativos<\/span> las<\/span> consecuencias<\/span> \u00faltimas<\/span> pueden<\/span> ser<\/span> m\u00e1s<\/span> f\u00e1ciles<\/span> de prever<\/span> o de aceptar<\/span>, pero<\/span> cuando<\/span> la dicotom\u00eda<\/span> se transforma<\/span> en valorar<\/span> si<\/span> es<\/span> l\u00edcito<\/span> o no matar<\/span> a una<\/span> persona para<\/span> evitar<\/span> un mal mayor, el ser<\/span> racional<\/span> que<\/span> se supone<\/span> que<\/span> es<\/span> el profesor<\/span> de filosof\u00eda<\/span> entra<\/span> en barrena<\/span> y act\u00faa<\/span> por<\/span> sentimiento<\/span>, no por<\/span> racionalidad<\/span>.<\/p>\n

Allen retuerce<\/span> argumentos<\/span> ya<\/span> muy<\/span> usados<\/span> en su<\/span> cine, \u201cDelitos<\/span> y faltas\u201d<\/span> y \u201cMatch Point\u201d son el mismo<\/span> terremoto<\/span> interior provocado<\/span> por<\/span> la muerte<\/span> forzada<\/span>, por<\/span> la idea del crimen<\/span> perfecto. Matar<\/span> o perder<\/span> lo que<\/span> se tiene<\/span>. Aqu\u00ed<\/span> hay un giro al argumento<\/span>, es<\/span> matar<\/span> para<\/span> vivir<\/span>, no porque<\/span> se trate<\/span> de un asunto<\/span> de leg\u00edtima<\/span> defensa<\/span> sino<\/span> porque<\/span> matando<\/span> Abe puede<\/span> dar<\/span> sentido<\/span> a su<\/span> vida<\/span>. Una<\/span> vez<\/span> que<\/span> Abe toma<\/span> su<\/span> decisi\u00f3n<\/span> su<\/span> vida<\/span> paralizada<\/span> se desbloquea<\/span>, lo que<\/span> era un a\u00f1o<\/span> de impotencia<\/span> mental se convierte<\/span> en sexo<\/span> juvenil<\/span> (uno<\/span> sospecha<\/span> que<\/span> ese<\/span> a\u00f1o<\/span> sab\u00e1tico<\/span> sexual est\u00e1<\/span> provocado<\/span> por<\/span> las<\/span> consecuencias<\/span> de un despido<\/span> encubierto<\/span> de otra<\/span> universidad<\/span> y por<\/span> el alcohol, pero<\/span> son cosas<\/span> que<\/span> imagino<\/span> por<\/span> malpensado<\/span>, porque<\/span> el personaje<\/span> de Abe me parece<\/span> un simulador<\/span> a lo largo de toda<\/span> la pel\u00edcula<\/span>), lo que<\/span> era amistad<\/span> en palabras<\/span> de Abe se traduce en relaci\u00f3n<\/span> sentimental y a ojos<\/span> de todos<\/span> con su<\/span> alumna Jill (\u00bfes<\/span> cre\u00edble<\/span> esa<\/span> situaci\u00f3n<\/span>? Hasta<\/span> donde<\/span> s\u00e9<\/span> las<\/span> relaciones<\/span> profesor-alumna<\/span>, m\u00e9dico-paciente<\/span> van contra las<\/span> normas<\/span> deontol\u00f3gicas<\/span>, parece<\/span> ser<\/span> que<\/span> para<\/span> este<\/span> profesor<\/span> suponen<\/span> un plus de inter\u00e9s<\/span> para<\/span> ser<\/span> contratado<\/span>). El existencialista<\/span> Abe se transforma<\/span> en el hedonista<\/span> Abe, de taciturno<\/span> a alegre<\/span>, de hura\u00f1o<\/span> a sociable (un m\u00e9rito<\/span> de actor tan excepcional<\/span> como<\/span> Phoenix) y la pel\u00edcula<\/span> da<\/span> un giro, recuperadas<\/span> las<\/span> ganas<\/span> de vivir<\/span> comienza<\/span> la pel\u00edcula<\/span> de intriga<\/span> c\u00f3mica<\/span> con pretensiones<\/span> de tragedia<\/span> griega<\/span>, aqu\u00ed<\/span> \u201cMisterioso<\/span> asesinato<\/span> en Manhattan\u201d revive de manos<\/span> de Jill, que<\/span> pasa<\/span> a ser<\/span> la protagonista<\/span> de la pel\u00edcula<\/span> asumiendo<\/span> el papel<\/span> de Diane Keaton, mientras<\/span> Abe alterna<\/span> los papeles<\/span> que<\/span> representaba<\/span> el vecino<\/span> Mr. House y Alan Alda<\/span>.<\/p>\n

Pero<\/span> cuando<\/span> llega<\/span> la constataci\u00f3n<\/span> de lo sucedido<\/span> a Allen se le atranca<\/span> el discurso<\/span>, que<\/span> ven\u00eda<\/span> ya<\/span> a tirones<\/span> previamente<\/span>. En ese<\/span> momento<\/span> de indudable<\/span>, o que<\/span> pod\u00eda<\/span> haber<\/span> sido<\/span> de indudable<\/span> profundidad<\/span> filos\u00f3fica<\/span>, Allen no sabe<\/span> aportar<\/span> argumentos<\/span> s\u00f3lidos<\/span> ni<\/span> fiables<\/span>, por<\/span> eso<\/span> deja<\/span> hablar<\/span> a la joven<\/span> \u201cno tengo<\/span> ni<\/span> el conocimiento<\/span> ni<\/span> tu<\/span> inteligencia<\/span>, pero<\/span> esto<\/span> no puede<\/span> ser\u201d<\/span>, resumiendo<\/span> de un brochazo<\/span> todo<\/span> el planteamiento<\/span> moral del inicio<\/span>. Al final Allen juzga<\/span> y castiga<\/span>, aunque<\/span> de manera<\/span> muy<\/span> simplista<\/span>, pero<\/span> para<\/span> que<\/span> sea m\u00e1s<\/span> asumible<\/span>, el castigo<\/span> vendr\u00e1<\/span> precedido<\/span> de otro<\/span> pecado<\/span> imperdonable<\/span>. Allen, para<\/span> aplicar<\/span> su<\/span> castigo<\/span>, necesita<\/span> de argumentos<\/span> moralizantes<\/span>, impl\u00edcitos<\/span>, nunca<\/span> expresos<\/span>, como<\/span> si<\/span> considerara<\/span> insuficiente<\/span> lo ya<\/span> hecho<\/span> y pudieran<\/span> existir<\/span> espectadores<\/span> que<\/span> empatizaran<\/span> con el profesor<\/span> hay que<\/span> hundirle<\/span> en la consideraci\u00f3n<\/span> ajena<\/span> antes de castigarle<\/span>. Allen juega<\/span>, o pretende<\/span>, crear<\/span> cine ligero<\/span>, vol\u00e1til<\/span>, con temas<\/span> trascendentes<\/span>, durante<\/span> muchos<\/span> a\u00f1os<\/span> le sirvi\u00f3<\/span> y en algunas<\/span> ocasiones<\/span> proporcion\u00f3<\/span> serias<\/span> reflexiones<\/span> llenas<\/span> de profundidad<\/span>, en su<\/span> \u00faltima<\/span> d\u00e9cada<\/span> parece<\/span> transitar<\/span> por<\/span> un razonable<\/span> canto a la vida<\/span>, a sus<\/span> ganas<\/span> de vivir<\/span> con independencia<\/span> de qu\u00e9<\/span> dir\u00e1n<\/span>, y sus<\/span> pel\u00edculas<\/span> se difuminan<\/span> en la memoria<\/span> y ya<\/span> no somos<\/span> capaces<\/span> de reencontrarnos<\/span> con el genio<\/span>, que<\/span> de vez<\/span> en cuando<\/span> asoma<\/span> como<\/span> en Midnight in Paris. Aqu\u00ed<\/span> pretende<\/span> hacer<\/span> una<\/span> tragedia<\/span> ligera<\/span> que<\/span> oscila<\/span> entre<\/span> la comedia<\/span> rom\u00e1ntica<\/span> y el drama parad\u00f3jico<\/span> hasta<\/span> llegar<\/span> al momento<\/span> culminante<\/span> de sus<\/span> \u00faltimos<\/span> 15 minutos<\/span> donde<\/span> no sentimos<\/span> la desesperaci\u00f3n<\/span> ni<\/span> la agon\u00eda<\/span>. Llena<\/span> su<\/span> pel\u00edcula<\/span> de citas<\/span>, Kant, Hegel, Heidegger<\/span> y sobre<\/span> todo<\/span> Dostoievski<\/span>, pero<\/span> se aparta<\/span> frontalmente<\/span> del escritor<\/span> ruso<\/span> para<\/span> quitar<\/span> peso al conjunto<\/span>, y el resultado<\/span> se desequilibra<\/span>.<\/p>\n

A\u00f1o<\/span> tras<\/span> a\u00f1o<\/span> repetimos<\/span> la misma<\/span> cantinela<\/span>, \u00a1qu\u00e9<\/span> pena<\/span>, con lo bien<\/span> que<\/span> lo hemos<\/span> pasado<\/span> con el cine de Allen!, y sin ser<\/span> una<\/span> pel\u00edcula<\/span> mala<\/span>, notas<\/span> que<\/span> est\u00e1<\/span> a a\u00f1os<\/span> luz<\/span> de su<\/span> mejor<\/span> cine, que<\/span> ya<\/span> solo puedes<\/span> aspirar<\/span> a un chispazo<\/span> puntual<\/span>, a obras<\/span> correctas<\/span> sin m\u00e1s<\/span>, a desear<\/span> que<\/span> no sea horrible porque<\/span> no soportas<\/span> que<\/span> quien<\/span> te<\/span> dio<\/span> tan buenas<\/span> horas<\/span> pierda<\/span> su<\/span> genio<\/span> de esta<\/span> manera<\/span>. Y no, te<\/span> vas resignando<\/span> a que<\/span> Allen haga<\/span> cine porque<\/span> no quiere<\/span> morirse<\/span>, porque<\/span> necesita<\/span> crear<\/span> para<\/span> sostenerse<\/span>, pero<\/span> mientras<\/span>, sus<\/span> obras<\/span> te<\/span> van resbalando<\/span>, \u00e9sta<\/span> \u00faltima<\/span> te<\/span> va<\/span> aburriendo<\/span> durante<\/span> muchos<\/span> minutos<\/span>, te<\/span> abruma<\/span> una<\/span> insistente<\/span> voz<\/span> en off que<\/span> no te<\/span> deja<\/span> pensar<\/span> ni<\/span> disfrutar<\/span> de las<\/span> im\u00e1genes<\/span>, una<\/span> voz<\/span> que<\/span> te<\/span> cuenta<\/span> lo que<\/span> podr\u00edas<\/span> ver<\/span> y que<\/span> apenas<\/span> sirve<\/span> para<\/span> desarrollar<\/span> la verdadera<\/span> trama<\/span>, te<\/span> marea<\/span> el insistente<\/span> uso<\/span> de un est\u00e1ndar<\/span> de jazz que<\/span> suena<\/span> sin parar<\/span> una<\/span> y otra<\/span> vez<\/span>, imaginas<\/span> que<\/span> refleja<\/span> la mente<\/span> de Abe dando<\/span> vueltas<\/span> y vueltas<\/span> juzgando<\/span> y juzg\u00e1ndose<\/span>, o la de Jill, pero<\/span> cansa<\/span>, cansa<\/span>, hast\u00eda<\/span> y, tambi\u00e9n<\/span>, distrae<\/span> sobremanera<\/span>. 24 horas<\/span> despu\u00e9s<\/span> de ver<\/span> la pel\u00edcula<\/span> un aparente<\/span> estado<\/span> de complacencia<\/span> sobre<\/span> su<\/span> visi\u00f3n<\/span> me ha desaparecido<\/span>, ni<\/span> Phoenix ni<\/span> una<\/span> convincente<\/span> Stone (esta<\/span> chica<\/span> est\u00e1<\/span> exponi\u00e9ndose<\/span> demasiado<\/span>, se la ve<\/span> en muchas<\/span> pel\u00edculas<\/span> y se va<\/span> a encasillar<\/span> en un papel<\/span> de joven<\/span> seductora<\/span> no siempre<\/span> bien<\/span> dirigida<\/span>, ojo<\/span> a su<\/span> lamentable interpretaci\u00f3n<\/span> en Aloha y ah\u00ed<\/span> se ver\u00e1<\/span> la diferencia<\/span> entre<\/span> un buen<\/span> director, Allen, y un aprendiz<\/span> vendehumo<\/span> como<\/span> Cameron Crowe) consiguen<\/span> mantener<\/span> un recuerdo<\/span> de la pel\u00edcula<\/span> como<\/span> para<\/span> recomendarla<\/span>. A los fan\u00e1ticos<\/span> de Allen les convencer\u00e1<\/span>, a otros<\/span> les parecer\u00e1<\/span> el cierre<\/span> de una<\/span> trilog\u00eda<\/span> sobre<\/span> el asesinato<\/span> \u201cjustificado\u201d<\/span> perfecta, para<\/span> mi, al final, es<\/span> una<\/span> de las<\/span> pel\u00edculas<\/span> de Allen que<\/span> querr\u00eda<\/span> no haber<\/span> visto<\/span> para<\/span> quedarme<\/span> con Manhattan, Annie Hall, La rosa<\/span> p\u00farpura<\/span> del Cairo, Misterioso<\/span> asesinato<\/span> en Manhattan, Match Point, Delitos<\/span> y faltas\u2026<\/span> \u00e9sa<\/span> es<\/span> la historia<\/span> y la grandeza<\/span> de Allen, no el de sus<\/span> \u00faltimos<\/span> \u00bf10? a\u00f1os<\/span>.<\/p>\n

\"alt\"<\/p>","protected":false},"excerpt":{"rendered":"

En el filo de la navaja entre lo \u00edntimo y lo divulgado, el \u00e9xito o fracaso de una persona puede estar solamente determinado por un hecho concreto, por el lado de la barandilla en el que caiga el anillo. Incluso los conceptos de \u00e9xito o fracaso resultar\u00edan ineficaces para una […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61,4],"tags":[],"class_list":["post-7849","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\nIrrational man (Woody Allen, 2015) - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/irrational-man-woody-allen-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Irrational man (Woody Allen, 2015) - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"En el filo de la navaja entre lo \u00edntimo y lo divulgado, el \u00e9xito o fracaso de una persona puede estar solamente determinado por un hecho concreto, por el lado de la barandilla en el que caiga el anillo. 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