Críticas, Estrenos

Frantz – Colorear nuestra vida como respuesta

Mejor o peor, de nuestro gusto o del de otros, no hay duda de que François Ozon es un cineasta inclasificable, fiel a unos principios y a unas inquietudes que no han sido traicionados en prácticamente veinte años como largometrajista. Era lógico que nos enfrentáramos con dudas a Frantz después del patinazo que supuso Una nueva amiga, uno de los pocos trabajos del cineasta en los que la inconsistencia terminaba por devorar al genio; sin embargo, éstas quedan disipadas en cuanto termina el visionado, tomamos conciencia de lo que ha ocurrido y valoramos en su justa medida el que probablemente sea el mejor trabajo de Ozon hasta la fecha.

Frantz 2

No es nada fácil acometer la tarea de remakear una película de un maestro como Ernst Lubitsch, cuyo cine se encuentra en las antípodas del que realiza Ozon. Es por esa, entre otras muchas razones, que esta obra resulta igual de valiosa, o incluso más, que la del alemán. Es admirable respetar la original hasta el punto de rodar el remake en blanco y negro, pero también lo es la valentía de fragmentar la narración en dos partes bien diferenciadas, desde diferentes puntos de vista y desmarcándose del film de Lubitsch en diversas cuestiones. Mientras la primera parte discurre a través de los ojos de Adrien, un joven francés que viaja a Alemania en busca de algo que en un principio desconocemos, la segunda lo hace bajo la visión de Anna, una mujer alemana que perdió a su prometido en la Primera Guerra Mundial, cuyo armisticio fue firmado algunos meses antes del comienzo del relato. Ozon, además de presentarnos un romance mucho más verosímil y desarrollado que en la cinta original, decide ocultarnos un detalle de relevancia hasta la mitad del metraje, haciendo de ésta una experiencia realmente ambigua, donde las dualidades cuentan con una importancia mayúscula y, además de enriquecer la psicología de los personajes, establecen un juego de mentiras tan pertinente como sugestivo.

Frantz des

Como decíamos, la fidelidad argumental del relato es máxima, permitiéndose incluso recrear algunos diálogos y escenas de la original en su primera mitad. Aunque se prescinde de la explicativa (y sumamente poderosa) primera secuencia de Remordimiento, en pro de realizar un estudio diferente, actualizado a una época donde las heridas, cicatrizadas o no, se sienten mucho más lejanas y el conflicto se valora desde una perspectiva diferente, el arco dramático del personaje interpretado por Lionel Barrymore permanece intacto. Es Pierre Niney quien debe transmitirnos el sufrimiento de ese misterioso músico francés, y su contención, unida a la estupenda química que mantiene con la maravillosa Paula Beer, le hace superar con nota el papel más complicado de su carrera. Es cierto que su trabajo no es para nada lúcido, menos aún si lo comparamos con el de su predecesor Barrymore, que contaba con un protagonismo mucho mayor, por lo que es completamente necesario reivindicar la labor de uno de los actores más prometedores de la actualidad.

Frantz 3

La ambigüedad de la que hablábamos, ese perfectamente justificado juego de mentiras que distorsiona todos los puntos de vista mostrados en pantalla, se convierte en el mayor atractivo de un relato tan clasicista como ozoniano, improbable combinación que jamás nos hubiéramos podido imaginar que funcionara así de bien. La felicidad aparece aquí como algo terriblemente efímero, que siempre pertenece al pasado o al futuro, nunca al momento presente. Para reflejar los escasos momentos de felicidad, aunque éstos no sean más que el fruto de una mentira, o de una suma de varias, Ozon colorea las preciosistas imágenes en blanco y negro, llenando de vida los encuadres de una dolorosa historia sobre la pérdida, el duelo y el perdón. Una mentira piadosa en el momento adecuado nos puede ahorrar muchísimo sufrimiento, así que, si queremos seguir adelante en tiempos difíciles, cuando lo que más queremos ha dejado de estar junto a nosotros, quizá sea necesario que nos creamos nuestras propias mentiras o las de otros. La película no sólo se titula Frantz por el remordimiento del que ya hiciera gala el film de Lubitsch, sino también por esa idealización absoluta de lo perdido y lo imaginado. Porque contemplar un cuadro de Manet en el Louvre nunca fue tan agridulce.

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