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De ce imi plac westernurile |
Polemici |
Scris de Ninel Ganea |
Marţi, 13 Septembrie 2011 08:35 |
A declara ca iti plac westernurile clasice nu e cea mai fericita forma de autopromovare culturala. Risti sa receptionezi zambete ironice si batai compatimitoare pe spate. Nu da bine. Ori esti considerat retardat emotional ori un excentric ce tine cu dinadinsul sa socheze prin conservatorism, in lipsa altor indeletniciri “la zi”. In ambele cazuri, nu ai nicio sansa sa treci testul acceptarii urbane “cool”.Si totusi mie imi plac foarte mult westernurile facute inainte de 1960. Iar de fiecare data cand vad cate un clasic nu simt niciun fel de placere vinovata. Imi plac actorii, subiectele, dialogurile si, cel mai mult, perspectiva din care sunt realizate. In primul rand, lumea filmelor clasice este una in care distinctia dintre Bine si Rau functioneaza (inca) si are o valoare universala pentru ambele tabere. In general, nu exista personaje ce pun la indoiala ordinea naturala ilustrata prin legea scrisa sau a pamantului. Sunt personaje ce incalca normele, dar o fac in mod constient si deliberat. Fiecare parte stie in ce se implica si actioneaza ca atare. Exista erori sau neclaritati particulare, locale (vezi de pilda Shane sau Ox Bow Incident – ultimul realizat dintr-o perspectiv asumat stangista), dar nimeni nu deriva de aici ipoteze relativiste sau psihologizante. Personajele evolueaza intr-un univers moral obiectiv, in care nu exista reguli si norme fluide. Ceea ce poate parea banal doar daca nu luam in calcul productiile contemporane, unde eroii devin antieroi, binele si raul nu se mai scriu cu majuscula, iar categoriile morale devin caduce prin istorii sociale, psihologice sau religioase ce arunca in deriziune orice eticheta “tare”. Spre comaparatie, in westernuri, asa cum remarca Frank Chodorv, “criminals take their punishment like men, never pleading "temporary insanity" to justify their crimes, and there never is a hint psychological quirks in the stories. Nobody tries to "uplift" his neighbour, nobody psychoanalyzes anybody else, nobody preaches "togetherness." Even the criminal element – the thieves, cardsharps, and murderers – ply their trades with audacity and pay the penalty, when caught, like men”. Mai mult, ucigasii din trecutul cinematografic clasic se comportau in buna masura rational, exercitand violenta doar atat cat era necesara pentru a-si indeplini scopurile. Insa, de pilda, in imposibilele spaghetti western, personaje precum cel interpretat de Henry Fonda dezlantuie o epurare in miniatura, fara vreun motiv prea limpede. Nihilismul si-a facut simtita prezenta si aici, iar regizorii au simtit nevoiti sa “demitologizeze” trecutul. Adica sa-l faca mult mai violent, mai haotic si mai relativist. O oglinda fidela nu a perioadei de dupa Razboiul de Secesiune, ci a colectivistilor ani ’60 si ’70. In treacat fie spus ca o incercare de a prezenta lucrurile “realist” ar insemna eliminarea cvasitotala a violentei din filme, deoarece Vestul Salbatic era mai degraba un loc foarte linistit, in special ca urmare a dreptului de a purta arma, a drepturilor de proprietate stricte si a moralei religioase inca puternice (vezi eseul lui Terry Anderson “An american experiment in anarcho-capitalism, the not so wild, wild west” http://mises.org/journals/jls/3_1/3_1_2.pdf). De pilda, in orasele Abilene, Ellsworth, Wichita, Dodge City si Caldwell (referinte obligatorii in westernuri), au avut loc intre 1870 si 1885 doar 45 de omoruri, ceea ce echivaleaza cu o crima pe an la 100.000 de locuitori!!! In al doilea rand, imi plac westernurile pentru ca arata, in termeni aproximativi, ce-i drept, o lume libertarian-conservatoare. Nu apar in filme nici functionari ai fiscului, nici politisti in uniforme, nici asistenti sociali ce invata familiile cum sa-si creasca copiii. Fiecare stie ce are de facut si se descurca singur. Sunt individualisti, dar cu un simt al comunitatii exemplar. “We never asked anything from the state and never expected anything” spune personajul lui James Stewart in “Shenandoah”. Instinctul comunitar explica si de ce in foarte multe cazuri (filme) reputatia cuiva - de cele mai multe ori un pistolar sau o femeie de moravuri usoare - era suficienta pentru a ii ingradi accesul in anumite orase. Si asta strict in termeni drepturilor de proprietate si nu pe baza “legalizarii moralitatii”. Cu toate aceste argumente, nu imi fac foarte mari iluzii in privinta westernurilor. Nu le vad nici ca mari realizari culturale, nici drept intruchipari cinematografice perfecte ale teoriei libertariene. Unele sunt mai bune, altele mai putin insa toate reprezinta, cel putin pentru mine, reflectia unei lumi inca necorupte total de virusul nihilismului. Iar pentru cei care cred ca westernurile nu pot dovedi subtilitati filozofice si psihologice le recomand “3:10 catre Yuma” , bineinteles versiunea din 1957. |