Por Juan Carlos Aros
Una cuestión aparece regularmente en el fraseo del cine, aquella sentencia que provoca espasmos entre los críticos y es “en gustos no hay nada escrito”, palabras llenas de connotaciones y en gran parte, digámoslo, estos críticos disgustados tienen razón, pues el gusto es muy subjetivo y hay elementos que sí son, comprobadamente, objetivos y que deben ser considerados a la hora de evaluar o dar una opinión sobre cine.
Uno de esos elementos es el lenguaje cinematográfico. Ya los griegos, con Aristóteles (s. IV A. C.), por fines diferentes al cine pero emparentados (la luz), nos mostraron la primera animación a través de una cámara oscura. Una animación es una representación, un cuento, una fábula, una mentira, no es real, es bueno expresarlo.
Podríamos decir que con Aristóteles hay un protolenguaje cinematográfico y su aporte es, sin proponérselo, la posibilidad de registrar una serie de imágenes que, pasando a cierta velocidad, daban la sensación de movimiento, la sensación de “vida”.
Pero el lenguaje cinematográfico como camino, se inaugura con las primeras imágenes en secuencia que vemos en una proyección el 14 de octubre de 1888 (hace casi 134 años), en las que cuatro adultos caminan en un jardín y que es conocida como la “Escena del Jardín de Roundhay” (Leeds, Inglaterra) … Y así comenzó el cine.
Luego podemos saltar siete años y nos encontramos con L’arrivée d’un train en gare à La Ciotat , de los hermanos Lumière y ya tenemos otra secuencia. Al año siguiente, 1896, Georges Méliès nos muestra un ilusionista y es la primera secuencia con edición o intervención, es decir, en pantalla vemos como una dama desaparece, luego su lugar lo ocupa un esqueleto y luego reaparece tal como llegó.
El séptimo arte empezó sus balbuceos y cada proyecto presentaba diferentes desafíos, los que había que superar para acercarse a la idea que el director tenía en mente.
Ese crecimiento en el léxico obligó a compartimentar el trabajo y cada uno de estos apartados iba generando más lenguaje, con su consiguiente incremento tecnológico para llegar a estos días en los que el rodaje sólo es una parte de un proyecto fílmico.
Hoy surge una idea que debe llegar a un proyecto, lo que conocemos como una producción. Necesitamos financiamiento, un guionista o un equipo para el guión, encargado de los castings, contrato de los actores, de los extras, vestuario, escenografía, fotografía, música y así… la lista se hace interminable, todos trabajando para que el espectador no se dé cuenta del engaño.
Desde la cámara puesta y registrando en tiempo real a hoy día, todo es intervenible o editable, siempre intentando impactar en el espectador. Por un lado, con conceptos que sólo a la vista aguda tienen un significado, como puede ser el plano larguissimo o general, en donde el personaje está en su soledad o dimensiona su destino o misión. También está aquello que no podemos ver en la realidad, pero que sí entendemos en la pantalla y están, por último, los estados emocionales del espectador, que son los de todos los seres humanos. Saberse estos planos es de por sí imposible, sólo para algunos, pues ya pasan a ser infinitos y este léxico sigue aumentando. Un ejemplo de plano larguissimo o plano general largo está en A la hora señalada (Fred Zinnemann, 1952). Esto, al comienzo del film, jinetes que llegan a una cita y para conseguir que el espectador interprete la lejanía desde donde viajan, son un poco más de un punto en la pradera, desde donde se aproximan para cumplir la misión de eliminar al Sheriff Will Kane…
Sobre aquello que no podemos ver con nuestra capacidad o en nuestra realidad pero sí podemos comprender en pantalla, tenemos el ejemplo del efecto bullet time, en una escena en la que vemos a Trinity con su extraña patada voladora, que dura alrededor de diez segundos y que vemos ¡oh, privilegio! en 360°. Esto en el comienzo de Matrix (Lana Wachowski y Lilly Wachowski, 1999)
Y para entrar a aquello que es mucho más familiar, como son las emociones, cualquiera sean y que fácilmente podemos entender, hace falta mucho close up o primer plano. Nos referimos a Doce hombres con ira ( Sidney Lumet, 1957).
Como podemos ver, hablar de lenguaje en el cine es un cuento de nunca acabar.
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