Claim lm of the rebel

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Leads hooked to the cinema since I had use of reason: remembers seeing his first movie three years and was an adult, The phantom of the opera (1962), directed by Terence Fisher, released by TVE on October 14, 1978. David Felipe Arranz is a journalist, philologist and professor of journalism at the University Carlos III of Madrid and is convinced that, as it says Stanley Cavell, film can make us better. His latest book, Indians, cowboys, and princesses galactic (Pygmalion), is how the film is going forged in the viewer a rebellious spirit, a character that is considered necessary for functioning modern democracies.

It defines the rebel

The
rebel is the one who defies the “authority”, especially if this falters in the
care of the citizens, then the misfit, just with his attitude,
drives social change and is held by a visionary, an unbalanced and a
individual uncomfortable power, which develops
their springs to amordazarlo. The playwright Eugène Ionesco said that
think upstream is heroic and say it, crazy. Think Spartacus, Stanley Kubrick, by
example, written by the brilliant and represaliado Dalton Trumbo: a hymn to the
freedom in dark times and that charges the maximum force in these days. All
intoxication of power leads head-to regimes of dyes totalitarian, as
the of the Roman Empire.

What is “dangerous” to see good
cinema?

It is
rewarding, smart, and develops the critical sense. Therefore, you can
be dangerous for those who do not want the citizen to think a little bit. I am
thinking, for example, in all those “disobedient,” whose feats
changed the world, such as Shakespeare, jules Verne, H. G. Wells, H. Rider Haggard
or George Orwell, whose magnificent adaptations of the film are dotted with
heterodox who gave a beat to unjust situations, galvanized
revolutions or defeated tyrants of lost kingdoms.

Are there a lot of rebel women
in his book?

There are, necessarily, as in the majority of cases, constitute a pillar of the plot. I think in the Dallas (Claire Trevor) of The diligence John Ford, the prostitute in the original, by Guy de Maupassant spends the night in an inn with an officer prussian, supporting after all of the teasing of the passengers of the diligence. The same thing happens in the movie Ford, in which the passage denies the bread and the salt. Dallas is composed of tahúres, representatives of alcoholic beverages, doctors, drunkards, and embezzlers of banks. It happens in real life: the corrupt are dedicated to hunting down and defaming the man who has committed a misstep. Already warned fray Luis de Granada in his Guide of sinners (1567), and Fernando Fernán-Gómez opens the exceptional and tragic The world continues: “See mistreated the innocent, forgiven blamed, despised the poor, the honest and sublimated the evil…”, an assertion that fray Luis will cost more than a collision with the Holy Office. Now what we have is a Neoinquisición coated of service to the citizens, which consists of gag her without noticing: the system is “debugged” to the people entirely free.

Do the princesses galactic
George Lucas, are the rebels?

In
effect, are necessarily rebels. But we could extend that label
all heroin truly non-conformist, and that the play of the life in the
great movies. Princess Leia Organa (Carrie Fisher) is one of them:
let’s think of a Joan of Arc, in Joan the Mad, in sor Juan Inés de la Cruz…
in Spain, this journey has been in the Spanish Theatre Aitana Sánchez-Gijón in Juana. George Lucas opens The war of the galaxies (1977) with a
superb dialog photographed by Gilbert Taylor, among a young princess
disarmed and Lord Vader, in that he accused him, nailing his eyes,
crush the free beings of the galaxy, in spite of knowing that you can die in
any time. In the following decades, filmmakers like Abel Ferrara with Angel of vengeance or Luc Besson with Nikkita, hard to kill, return to the
picture of the holster of the wéstern classic.

Have there been many women
rebels in the wéstern?

More
of what people might think. There is an urban legend, mainly driven by
those who do not see cinema, the woman in the wéstern classic is an element
decorative: nothing more far from reality. We think that duel interpretive
Carroll Baker and Jean Simmons in Horizons
of greatness,
livestock vying for the violence which is supposed to be
heritage masculine; the daring Jane Russell The outlaw, the Yvonne De Carlo Passion and the Doris Day of Juanita
Calamity;
and what to say of the machinations of Joan Crawford in Johnny Guitar or Marlene Dietrich in Arizona, throwing the chairs to the
head to James Stewart, or in Encubridora,
with Dietrich again as the landowner to fan the fire among his men
for them to walk…

And after, followed
having women fast pulling out the revolver?

In
the sixties were the Jane Fonda, Claudia Cardinale, Brigitte Bardot,
Ann-Margret and Raquel Welch who shot better than the cowboys in the
gender. And actresses today like Andie MacDowell –Four women and a target–, Sharon Stone –Quick-and-deadly–, Hilary Swank –Debt
of honor–,
Natalie Portman –The
revenge of Jane–,
Cate Blanchett –Disappearance–
or Nicole Kidman –Australia– have not
hesitated to hang a leather belt at the waist and out a few guns
to defend themselves. The frames are darker, more violent, but the characters
female are the heirs of the intrepid pioneers that appear in The conquest of the West and that embody
Debbie Reynolds and Carroll Baker. Even Penelope Cruz and Salma Hayek succumbed
the smell of gunpowder in Bandidas!

Are there rebels at all
genres?

Yes:
in the comedy, the gender war, the adventures… even in the péplum bible. Think
in films of authentic resistance as The
bridge on the river Kwai, Twelve of the scaffold
or The great escape: those who break the enemy lines by causing them to
large low are rebellious as the characters that give life William
Holden, Lee Marvin or Steve McQueen. Let us dwell on the misfits embodied
by Paul Newman The long and warm
summer,
from diverse narrative material of William Faulkner, or Sweet bird of youth, Tennessee
Williams, where the protagonist fits a tremendous beating on the part of the establishment. The same thing we have seen in The law of silence or The pack human, in which the
community hypocritical and corrupt, the unions or councillors try to
to liquidate the rebellious.

Also Jesus of Nazareth and
James Bond appear as rebels

Is there
a greater rebel than the Jesus of Nazareth of Roberto Rossellini in The Messiah, that shakes and rattles Palestine
in the time of Tiberius? Martin Scorsese altered the public opinion The last temptation of Christ,
adaptation of the novel by Nikos Kazantakis. There is a “miracle” in the péplum, that
resides in keeping their essence in the will, mixing and matching the four
Gospels. Let us also think of the James Bond saga and in the exceptional Spectre, with seydoux, when the
secret agent, rebel among the rebels, to understand the love. Not even “M”
it is able to put in sidewalk in love with, as a madman of love is the most
the subversive exists. We think, saving the distances, in the Renaissance,
when the feudal lord chased by dangerous fools of love and the
troubadours, studied by Martín de Riquer, who refused to accept the
arranged marriages and courted married women.

Do you think that the film can
to make us better?

I am
absolutely convinced of this: not only cinema, but culture in general,
because it carries in itself the germ of the education and of the brotherhood between the
men, as believed Friedrich Schiller and Beethoven. The culture is rebellion
in its purest form, provocation and the best vaccine against fanaticism and
manipulation. And I insist on the germ of creativity and fascination that leads
get: culture is a challenge which, if exceeded, makes you more wise. In his book Flight over valleys dark, the austrian
Maximilian Schell, rebel cinema and the renaissance of the TWENTIETH century to which I dedicate
many pages, he says: “The words of Socrates, ‘know thyself’ to me
seem very beautiful, but not quite correct. Maybe I should have said
‘watch yourself’”.