{"id":277,"date":"2012-12-26T08:11:11","date_gmt":"2012-12-26T07:11:11","guid":{"rendered":"http:\/\/www.argia.eus\/blogak\/santi-leone\/?p=277"},"modified":"2012-12-26T08:11:11","modified_gmt":"2012-12-26T07:11:11","slug":"hichcock-t-gabe-lorribile-segreto-del-dr-hichcock","status":"publish","type":"post","link":"https:\/\/blogak.argia.eus\/santi-leone\/2012\/12\/26\/hichcock-t-gabe-lorribile-segreto-del-dr-hichcock\/","title":{"rendered":"Hichcock, t gabe: L’orribile segreto del Dr. Hichcock"},"content":{"rendered":"
\"Tipo<\/a>

Tipo honek sekretu izugarri bat dauka<\/p><\/div>\n

60ko eta 70eko hamarkadetan, Italiako zineman estrategia ohikoa izan zen atzerrian arrakasta zuen edozer film, estilo edota genero hartu eta, gutxi goiti-beheiti moldatuta, horren bertsio italiarra egitea. Hori izan zen, hein handi batean, spaghetti western<\/em>aren historia, eta ondorioak ez ziren batere txarrak izan, baina genero hori ez zen kasu bakarra izan. Maiz, zuzendariek edo ekoizleek tituluaren bidez bilatzen zuten lotura arrakastatsu izandako filmekin. Hor dugu, errate baterako, Lucio Fulci-ren Zombie 2<\/em> (1979), izenburu horretaz hornitua ikusleek pentsa zezaten George Romero-ren Dawn of the dead<\/em> (1978) \u2013Italian Zombie<\/em> titulupean banatua\u2013 filmaren segida zela. Edo, bertze adibide bat aipatze aldera, Mario Bava-ren La ragazza che sapeva troppo<\/em> (1963): filma ikusita, ezin erran zein den zehazki neskaren gehiegizko jakinduria hori, baina bistan da izenburuak gogora ekartzen duela Alfred Hitchcock-en The man who knew too much<\/em> (1956), bi filmek elkarrekin deus ikustekorik ez badute ere.<\/p>\n

 <\/p>\n

\"Zer<\/a>

Zer zen kanpoan ikusi dudan hori? Mamu bat ote?<\/p><\/div>\n

Bava ez zen bakarra izan Hitchcock aipatzen. Mintzagai dugun filmaren tituluan ere, zuzenean egiten zaio erreferentzia zuzendari britainiarraren izenari, baina t bat kenduta, zer gerta ere. Izan ere, Riccardo Freda-ren L’orribile segreto del Dr. Hichcock<\/em> <\/a>(1962), bi eragin diferente elkartzetik sorturiko filma baita: Hitchcocken filmak, batetik, eta Hammer ekoiztetxe ingelesaren beldurrezko pelikulak, bertzetik.<\/p>\n

 <\/p>\n

Istorioa ez da sobera originala: alargundu ondoren, Hichcock doktoreak (Robert Flemyng) alde eginen du Londreseko bere etxetik eta bere bizimodutik. Hamabi urteren buruan, berriz bueltatuko da bere etxe zahar bakartu hartara, ondoan Cynthia emazte berria (Barbara Steele) duela. Hau, betiko zerbitzariaren etsaitasuna jasateaz gain, fite zuriz jantziriko fantasma bat ikusten hasiko da. Osagai gehienak (giro ingelesa, aktore anglosaxoiak, erabilitako koloreak, etxeko dekorazioa) Hammerreko filmak gogora ekartzeko pentsatuak daude. Eta, horrekin batera, Hitchcocken lanetako pasarte batzuei omenaldi egiten zaie: Cynthia emazte berriaren eta etxeko zerbitzariaren arteko harremana Rebecca<\/em>-n (1940) dago oinarritua; Suspicion<\/em>-en (1941) Cary Grant ikusi genuen bezala, hemen ere zerbitzaria ikusiko dugu eskaileretan beheiti, erretilu batean baso bat esne pozoitu daramala; memento jakin batean, zerbitzaria bizkarra ematen digun emazteki misteriotsu bati kafea eskaintzen ari zaiolarik, Psycho<\/em>-z (1960) eta bertako ama momifikatuaz oroituko gara.<\/p>\n

 <\/p>\n

\"Erotismoa<\/a>

Erotismoa morgue-an<\/p><\/div>\n

Nolanahi ere, Fredak, ez Hammerreko filmek ez Alfred Hitchcock-ek landu ez zuten gai bat jorratzen du bere lan honetan, eta gai hori da, hain zuzen ere, Hichcock doktorearen sekretu izugarria, film hau berezi eta gogoangarri egiten duen sekretua. Hitz gutitan erranda: Hichcock doktorea nekrofiloa da. Lehen emazteari berak asmatutako anestesiko berezi bat ematen zion, haren bizi ezaugarriak mantsoarazteko eta amodioa gorpu batekin egiteko sentsazioa izateko. Edonola ere, bertze zenbait pasartetan erakusten zaigun bezala, doktoreak ez die benetako gorpuei muzin egiten.<\/p>\n

 <\/p>\n

\"Nola<\/a>

Nola ailegatu naiz hona?<\/p><\/div>\n

L’orribile segreto<\/em> ez da film gorea. Film honetan ez da odolik, ezta bortizkeria handirik ere. Nekrofiliara hurbildu diren filmen artean (aipa ditzagun, adibidez, Joe d’Amato-ren Buio Omega<\/em> \u20131979\u2013, J\u00f6rg Buttgereit-en Nekromantik<\/em> \u20131987\u2013 edo Nacho Cerd\u00e0-ren Aftermath<\/em> \u20131994\u2013), Fredarena, grafismoari dagokionez, apalena da dudarik gabe, baina halere baditu memento asaldagarri batzuk. Eta, azken buruan, gaiak ematen dio originaltasuna film honi, eta agerian uzten du Italiako genero-zineman maiz gertatu izan den fenomeno bat: ustez bigarren mailako produktua denak, itxuraz kanpoko eredu bati jarraiki egindako kopiak, bere bidea aurkitu eta iristen da jatorrizkoa ailegatzera ausartua ez zen tokietara. Hala gertatu zen lehen aipatu dugun western all’italiana<\/em>-rekin, eta hala, Riccardo Fredaren film honekin. Hammerreko filmen ezaugarriak ongi txertatuak daude istorioan, eta Hitchcocki egindako erreferentziak ere bai. Baina ez batzuk ez bertzeak ez dira osagai interesgarrienak film honetan. Hichcock doktorearen sekretuari esker, ordea, Fredaren filmak Hammerreko film zintzoetan neketan aurkituko dugun giro ustel eta morbidoa erdiesten du.<\/p>\n

 <\/p>\n

\"Cynthia<\/a>

Cynthia (Barbara Steele), iraganaren itzala gibelean duela<\/p><\/div>\n

Erran bezala, L’orribile segreto…<\/em> ez da film gorea, ezta oso beldurgarria ere. Zuzendariak badaki tentsioa sortzen, baina zuriz jantziriko fantasmak segur aski ez du inor izutuko. Filmean, deusek ikara sorraraztekotan, Hichcock doktorearen garapenak eta jarrerak sorrarazten dute. Gidoia ez da perfektua, eta raccord<\/em>-ean akatsen bat ere bada, baina, hala eta guztiz ere, Italiako zinemaren harribitxi txiki honek merezi du. Ongi girotua dago, aktore lana ona da, zinemazalea asetzeko moduko erreferentzia batzuk baditu, eta, Hichcock doktorearen sekretuan, zinemak gutitan landu duen gaia dugu. Nire ustez, gaurko blockbuster<\/em> anitz baino gozagarriagoa da.<\/p>\n","protected":false},"excerpt":{"rendered":"

60ko eta 70eko hamarkadetan, Italiako zineman estrategia ohikoa izan zen atzerrian arrakasta zuen edozer film, estilo edota genero hartu eta, gutxi goiti-beheiti moldatuta, horren bertsio italiarra egitea. Hori izan zen, hein handi batean, spaghetti westernaren historia, eta ondorioak ez ziren batere txarrak izan, baina genero hori ez zen kasu bakarra izan. Maiz, zuzendariek edo ekoizleek […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[29,134,143,148,161,166,182,204],"class_list":["post-277","post","type-post","status-publish","format-standard","hentry","category-beldurrezkoa","tag-alfred-hitchcock","tag-joe-damato","tag-jorg-buttgereit","tag-lorribile-segreto-del-dr-hichcock","tag-lucio-fulci","tag-mario-bava","tag-nacho-cerda","tag-riccardo-freda"],"yoast_head":"\nHichcock, t gabe: L'orribile segreto del Dr. Hichcock - Odolaren mintzoa<\/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:\/\/blogak.argia.eus\/santi-leone\/2012\/12\/26\/hichcock-t-gabe-lorribile-segreto-del-dr-hichcock\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hichcock, t gabe: L'orribile segreto del Dr. Hichcock - Odolaren mintzoa\" \/>\n<meta property=\"og:description\" content=\"60ko eta 70eko hamarkadetan, Italiako zineman estrategia ohikoa izan zen atzerrian arrakasta zuen edozer film, estilo edota genero hartu eta, gutxi goiti-beheiti moldatuta, horren bertsio italiarra egitea. 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Hori izan zen, hein handi batean, spaghetti westernaren historia, eta ondorioak ez ziren batere txarrak izan, baina genero hori ez zen kasu bakarra izan. 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