{"id":8668,"date":"2016-01-20T04:37:17","date_gmt":"2016-01-20T04:37:17","guid":{"rendered":"https:\/\/www.revistarambla.com\/la-juventud\/"},"modified":"2021-04-10T18:08:26","modified_gmt":"2021-04-10T16:08:26","slug":"la-juventud","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/la-juventud\/","title":{"rendered":"La Juventud"},"content":{"rendered":"

Sinopsis<\/span> de la distribuidora<\/span>:<\/strong><\/p>\n

Fred Ballinger<\/span> (Michael Caine<\/span>), un gran<\/span> director de orquesta<\/span>, pasa<\/span> unas<\/span> vacaciones<\/span> en un hotel de los Alpes<\/span> con su<\/span> hija<\/span> Lena y su<\/span> amigo Mick, un director de cine al que<\/span> le cuesta<\/span> acabar<\/span> su<\/span> \u00faltima<\/span> pel\u00edcula<\/span>. Fred hace<\/span> tiempo<\/span> que<\/span> ha renunciado<\/span> a su<\/span> carrera<\/span> musical, pero<\/span> hay alguien<\/span> que<\/span> quiere<\/span> que<\/span> vuelva<\/span> a trabajar<\/span>; desde<\/span> Londres<\/span> llega<\/span> un emisario<\/span> de la reina<\/span> Isabel, que<\/span> debe<\/span> convencerlo<\/span> para<\/span> dirigir<\/span> un concierto<\/span> en el Palacio<\/span> de Buckingham, con motivo<\/span> del cumplea\u00f1os<\/span> del pr\u00edncipe<\/span> Felipe<\/em><\/p>\n

Gui\u00f3n<\/span> y direcci\u00f3n<\/span>: Paolo Sorrentino<\/span><\/em><\/p>\n

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

De la posmodernidad<\/span> ideol\u00f3gica<\/span> en el cine:<\/strong><\/p>\n

Desde<\/span> mi manera<\/span> de entender<\/span> el cine, la propuesta<\/span> est\u00e9tica<\/span> del director italiano<\/span> Paolo Sorrentino<\/span> en sus<\/span> diversos<\/span> films, es<\/span> la de un director donde<\/span> prima la operatividad<\/span>, las<\/span> ganas<\/span> de gustar<\/span> y deslumbrar<\/span> al espectador<\/span> mediante<\/span> todos<\/span> los artilugios<\/span> formales<\/span> posibles<\/span>, utilizando<\/span> una<\/span> grandilocuencia<\/span> disfrazada<\/span> de un estilo<\/span> elegante<\/span>. Podr\u00eda<\/span> entenderse<\/span> que<\/span> todos<\/span> estos<\/span> elementos<\/span> constituyen<\/span> a un director que<\/span> hace<\/span> publicidad<\/span>, y es<\/span> ah\u00ed<\/span> donde<\/span> veo<\/span> la marca<\/span> de estilo<\/span> de Sorrentino<\/span>, la de un director inserto<\/span> en un discurso<\/span> de la posmodernidad<\/span> donde<\/span> el popurr\u00ed<\/span>, la mezcolanza<\/span>, se disfraza<\/span> de sentido<\/span>.<\/p>\n

La Juventud<\/span><\/strong>, su<\/span> \u00faltima<\/span> entrega<\/span> cinematogr\u00e1fica<\/span>, no difiere<\/span> de esta<\/span> marca<\/span> de estilo<\/span>, de su<\/span> condici\u00f3n<\/span> publicitaria<\/span> y posmoderna<\/span>, donde<\/span> la sobrecarga<\/span> en la forma deja<\/span> entrever<\/span> un enorme<\/span> vac\u00edo<\/span> de contenido<\/span> y de capacidad<\/span> expresiva<\/span>.<\/p>\n

Es<\/span> de suponer<\/span> que<\/span> el que<\/span> est\u00e1<\/span> equivocado<\/span> es<\/span> quien<\/span> redacta<\/span> esta<\/span> cr\u00edtica<\/span>, ya<\/span> que<\/span> Sorrentino<\/span> se mueve<\/span> en La Juventud<\/span><\/strong> en el \u00e1mbito<\/span> de una<\/span> super producci\u00f3n<\/span> internacional<\/span> con mega presupuesto<\/span>, con unos<\/span> actores<\/span> de primer\u00edsimo<\/span> nivel<\/span> y una<\/span> distribuci\u00f3n<\/span> de lujo<\/span> en la industria<\/span> del cine. De todas<\/span> maneras<\/span> la intenci\u00f3n<\/span> no es<\/span> hacer<\/span> sangre<\/span> sobre<\/span> el director, sino<\/span> poner<\/span> a La Juventud<\/span><\/strong> en contexto<\/span> y reflexionar<\/span> brevemente<\/span> sobre<\/span> el devenir<\/span> del cine actual y de este<\/span> apoyo<\/span> expl\u00edcito<\/span> de la industria<\/span> por<\/span> la posmodernidad<\/span>.<\/p>\n

En este<\/span> sentido<\/span> es<\/span> curioso<\/span> que<\/span> gran<\/span> parte<\/span> de la cr\u00edtica<\/span> cinematogr\u00e1fica<\/span> inserte<\/span> a Sorrentino<\/span> en el plantel<\/span> de herederos<\/span> de los grandes<\/span> directores<\/span> del cine italiano<\/span>, y lo compare directamente<\/span> con Federico Fellini<\/span>. Pero<\/span> donde<\/span> Fellini<\/span> realiza<\/span> una<\/span> integraci\u00f3n<\/span> humanista<\/span> de los frikis<\/span> del mundo<\/span>, Sorrentino<\/span> enumera<\/span> el desagrado<\/span> por<\/span> el otro<\/span> como<\/span> diverso<\/span>, como<\/span> raro<\/span>, a quien<\/span> muestra<\/span> desde<\/span> una<\/span> \u00f3ptica<\/span> del energ\u00fameno<\/span>. En sus<\/span> pel\u00edculas<\/span> gran<\/span> parte<\/span> de esa<\/span> prole<\/span> que<\/span> aparece<\/span> como<\/span> rareza<\/span> es<\/span> vista desde<\/span> la altura<\/span> de una<\/span> mirada<\/span> que<\/span> juzga<\/span> y que<\/span> coloca<\/span> por<\/span> debajo<\/span> de nuestra<\/span> mirada<\/span>. Comparar<\/span> esta<\/span> construcci\u00f3n<\/span> de lo raro<\/span> con la mirada<\/span> antropol\u00f3gica<\/span> de Fellini<\/span>, donde<\/span> el mundo<\/span> refleja<\/span> la diversidad<\/span> y encanto<\/span> de lo diferente<\/span>, parece<\/span> una<\/span> broma<\/span>.<\/p>\n

Es<\/span> La Juventud<\/span> <\/strong>una<\/span> pel\u00edcula<\/span> de personajes<\/span>, donde<\/span> la trama<\/span> solo es<\/span> una<\/span> excusa<\/span> para<\/span> tirar<\/span> adelante<\/span> resonancias<\/span> de mundos<\/span> interiores<\/span> y de interrelaciones<\/span> de personajes<\/span> que<\/span> se tejen<\/span> en ese<\/span> hotel los Alpes<\/span> y que<\/span> funciona<\/span> a manera<\/span> de centro<\/span> de salud<\/span>. Esta<\/span> propuesta<\/span> que<\/span> de entrada<\/span> podr\u00eda<\/span> ser<\/span> un buen<\/span> argumento<\/span> para<\/span> di\u00e1logos<\/span> y la interpretaci\u00f3n<\/span> actoral<\/span>, choca<\/span> frontalmente<\/span> con un vac\u00edo<\/span> brutal. \u00a0Fuera<\/span> del personaje<\/span> de un magn\u00edfico<\/span> y generoso<\/span> Michel Cane (qu\u00e9<\/span> gusto verle<\/span> mirar<\/span> y escuchar<\/span> en pantalla<\/span>!)\u00a0 que<\/span> encarna<\/span> a un anciano<\/span> director de m\u00fasica<\/span>, el resto<\/span> de los personajes<\/span> representan<\/span> t\u00f3picos<\/span> relamidos<\/span> de la historia<\/span> del cine. Es<\/span> muy<\/span> posible<\/span> que<\/span> la voluntad<\/span> de mostrar<\/span> estos<\/span> personajes<\/span> t\u00edpicos<\/span>– t\u00f3picos<\/span> se haya<\/span> marcado<\/span> a conciencia<\/span> en el gui\u00f3n<\/span>, a la manera<\/span> en que<\/span> el pensamiento<\/span> posmoderno<\/span> aplica<\/span> a la idea de que<\/span> todo<\/span> ya<\/span> est\u00e1<\/span> construido<\/span> y que<\/span> andamos<\/span> muy<\/span> cerca<\/span> del final de la historia<\/span>; reflejo<\/span> de una<\/span> post-modernidad<\/span> que<\/span> ti\u00f1e<\/span> este<\/span> cine de una<\/span> estructura<\/span> vac\u00eda<\/span> donde<\/span> lo importante<\/span> siempre<\/span> est\u00e1<\/span> en otro<\/span> sitio<\/span>. Lo que<\/span> sucede<\/span> en esta<\/span> tipificaci\u00f3n<\/span> del personaje<\/span> es<\/span> que<\/span> gran<\/span> parte<\/span> del plantel<\/span> solo hacen<\/span> de estatuas<\/span> de s\u00ed<\/span> mismos<\/span>, y da<\/span> pena<\/span> ver<\/span> a Harvel<\/span> Keitel<\/span> intentar<\/span> dar<\/span> vida<\/span> a un personaje<\/span> que<\/span> es<\/span> solo una<\/span> c\u00e1scara<\/span> vac\u00eda<\/span>. No sucede<\/span> lo mismo<\/span> por<\/span> supuesto<\/span> con el doble<\/span> de Maradona<\/span> que<\/span> borda<\/span> su<\/span> rol<\/span> en una<\/span> seguidilla<\/span> de chutes al espacio<\/span> de una<\/span> pelota<\/span> de tenis<\/span> con una<\/span> zurda<\/span> magn\u00edfica<\/span>, ni<\/span> el doble<\/span> de Jhonny<\/span> Depp; ambos<\/span> ya<\/span> son c\u00e1scaras<\/span> de un personaje<\/span> vac\u00edo<\/span>.<\/p>\n

He le\u00eddo<\/span> algunas<\/span> cr\u00edticas<\/span> que<\/span> comparan<\/span> el magnificente<\/span> hotel suizo<\/span> de La Juventud<\/span><\/strong>, con el hotel de \u201cLa monta\u00f1a<\/span> m\u00e1gica\u201d<\/span> de Thomas Man. Nada m\u00e1s<\/span> lejos<\/span>! Los di\u00e1logos<\/span> de La Juventud<\/span><\/strong> son insostenibles<\/span> y de una<\/span> insustancialidad<\/span> tremenda<\/span>, y no porque<\/span> est\u00e9n<\/span> mal construidos<\/span>, sino<\/span> porque<\/span> estos<\/span> en la pel\u00edcula<\/span> no importan<\/span> en absoluto<\/span>. No hay b\u00fasqueda<\/span> de sabidur\u00eda<\/span>, ni<\/span> de esencias<\/span>, ni<\/span> del recuerdo<\/span>. Todo<\/span> eso<\/span> atraviesa<\/span> sin hacer<\/span> mella<\/span> a unos<\/span> personajes<\/span> que<\/span> se enfrentan<\/span> solo al vac\u00edo<\/span> de su<\/span> presente<\/span> donde<\/span> no hay contexto<\/span> social, ni<\/span> pol\u00edtico<\/span>, ni<\/span> creativo<\/span>, ni<\/span> nada que<\/span> se le parezca<\/span>, solo excusas<\/span> para<\/span> expresar<\/span> el vac\u00edo<\/span> del presente<\/span>.<\/p>\n

Pero<\/span> de esta<\/span> manera<\/span> se teje<\/span> el cine de Sorrentino<\/span> donde<\/span> siempre<\/span> parece<\/span> que<\/span> nos cuelan<\/span> una<\/span> cosa<\/span> por<\/span> otra<\/span>. Es<\/span> este<\/span> un tipo<\/span> de cine donde<\/span> sin duda<\/span> hay mucho<\/span> trabajo<\/span> por<\/span> el lado<\/span> de la producci\u00f3n<\/span>, sobre<\/span> todo<\/span> visual, a la manera<\/span> del videoclip<\/span>, y donde<\/span> algunas<\/span> secuencias<\/span> adquieren<\/span> una<\/span> pregnancia<\/span> potente<\/span>. Esas<\/span> buenas<\/span> escenas<\/span>, que<\/span> s\u00ed<\/span> las<\/span> hay, donde<\/span> el personaje<\/span> de cart\u00f3n<\/span> que<\/span> es<\/span> la hija<\/span> del director de m\u00fasica<\/span>, de repente<\/span> larga<\/span> un mon\u00f3logo-quejido<\/span> sobre<\/span> el abandono<\/span> del padre en su<\/span> ni\u00f1ez<\/span>, o esa<\/span> donde<\/span> ver<\/span> a Michael Caine<\/span> dirigiendo<\/span> a los sonidos<\/span> de la naturaleza<\/span> es<\/span> un encuentro<\/span> po\u00e9tico<\/span> bello<\/span> y agradable<\/span>, o el desfile<\/span> corporal de miss mundo<\/span> entrando<\/span> en la piscina<\/span> caliente<\/span> en una<\/span> provocaci\u00f3n<\/span> de mirada<\/span> de voyer<\/span> de pel\u00edcula<\/span> pornogr\u00e1fica<\/span>.<\/p>\n

As\u00ed<\/span> las<\/span> cosas<\/span> podemos<\/span> sintetizar<\/span> en que<\/span> si<\/span> el tener<\/span> un estilo<\/span> hace<\/span> al artista<\/span>, comprendemos<\/span> que<\/span> Paolo Sorrentino<\/span> sea considerado<\/span> uno<\/span> de los artistas<\/span> actuales<\/span> del cine italiano<\/span>. Si la potencia<\/span> de su<\/span> cine debe<\/span> medirse<\/span> con la tradici\u00f3n<\/span> del cine italiano<\/span>, m\u00e1s<\/span> bien<\/span> creemos<\/span> que<\/span> Sorrentino<\/span> est\u00e1<\/span> haciendo<\/span> publicidad<\/span> y nosotros<\/span> pag\u00e1ndole<\/span> por<\/span> un trabajo<\/span> que<\/span> es<\/span> m\u00e1s<\/span> bien<\/span> heredero<\/span> de estas<\/span> d\u00e9cadas<\/span> de mundo<\/span> Berlusconiano<\/span>, donde<\/span> desde<\/span> el cine ya<\/span> nada hay para<\/span> compartir<\/span> con el pr\u00f3jimo<\/span>, sino<\/span> cuesti\u00f3n<\/span> de usufructo<\/span> en un mundo<\/span> de iron\u00eda<\/span> distante<\/span>. Aquello<\/span> que<\/span> en su<\/span> momento<\/span> fue<\/span> catalogado<\/span> de \u201cpensamiento<\/span> d\u00e9bil\u201d<\/span> y que<\/span> liga<\/span> no solo con esta<\/span> idea de cine de la posmodernidad<\/span> donde<\/span> las<\/span> ideolog\u00edas<\/span> han<\/span> caducado<\/span>, sino<\/span> tambi\u00e9n<\/span> a la eclosi\u00f3n<\/span> del neoliberalismo<\/span> pasota<\/span> que<\/span> acompa\u00f1\u00f3<\/span> a esta<\/span> dimensi\u00f3n<\/span> de lo posmoderno<\/span>.<\/p>\n

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

Sinopsis de la distribuidora: Fred Ballinger (Michael Caine), un gran director de orquesta, pasa unas vacaciones en un hotel de los Alpes con su hija Lena y su amigo Mick, un director de cine al que le cuesta acabar su \u00faltima pel\u00edcula. Fred hace tiempo que ha renunciado a su […]<\/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-8668","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\nLa Juventud - 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\/la-juventud\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La Juventud - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Sinopsis de la distribuidora: Fred Ballinger (Michael Caine), un gran director de orquesta, pasa unas vacaciones en un hotel de los Alpes con su hija Lena y su amigo Mick, un director de cine al que le cuesta acabar su \u00faltima pel\u00edcula. Fred hace tiempo que ha renunciado a su […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistarambla.com\/en\/la-juventud\/\" \/>\n<meta property=\"og:site_name\" content=\"Revista Rambla\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/revistarambla\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/revistarambla\" \/>\n<meta property=\"article:published_time\" content=\"2016-01-20T04:37:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-04-10T16:08:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i1.wp.com\/www.revistarambla.com\/wp-content\/uploads\/2016\/01\/Juventud_revRambla01.jpg?fit=682%2C468&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"682\" \/>\n\t<meta property=\"og:image:height\" content=\"468\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"R@mbla\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:site\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"R@mbla\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/\"},\"author\":{\"name\":\"R@mbla\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/person\\\/a146a5a2550b94981a75131180e1bd9c\"},\"headline\":\"La Juventud\",\"datePublished\":\"2016-01-20T04:37:17+00:00\",\"dateModified\":\"2021-04-10T16:08:26+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/\"},\"wordCount\":1146,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2016\\\/01\\\/Juventud_revRambla02.jpg\",\"articleSection\":[\"Cine & Series\",\"Cultura\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/la-juventud\\\/\",\"name\":\"La Juventud - 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