From particular semiotic and rhetorical both literature and film complement each other in a symbiotic ideological discourse. This is how I will approach to a hybrid reading work, The Lady of the Assassins , the Colombian writer Fernando Vallejo and the film adapted to the big screen under the baton of director Barbet Schroeder . We'll take a few glimpses through the keyhole not without paranoid-voyeuristic eye.
As for the novel:
Some of the stylistic devices of the novel refers to a poetic reverie. In recounting the life of the author achieves a heartbreaking verisimilitude. The writer, after a long journey for a thousand worlds, returns to his native Medellín only to find a daily hell. Its enormous grief is made explicit based on the history or writing based on the memories, especially those of children. Thus, it is possible to propose a poetics of childhood. That old first pretext to speak from a first person, as the novel begins with an image of a red balloon (symbol of the Sacred Heart of Jesus) and the nostalgia of the pastoral passages of the Treasury where the child played with Fernando Vallejo his grandfather.
lot of diatribe, soliloquy and monologue is contained in the narrative voice. The narrator uses metaphors castizo constructed language, vulgar, everyday. Not because it is a record of oral inhabitant of Antioquia. However, the hyperbole of slang, for example, misuse of words such as gonorrhea "or" Pirobase "is a biting and critical reading of the poverty of ideas and the virulence of the spirit of contemporary culture.
is also captivating intimate and erotic force of the characters. They are flesh and bone. So the story is autobiographical, often feel the confessional tone of souls and heroes Romantic. Although, as noted from the start of the frame, in a country like Colombia (in the rest of the world is like, say, Vallejo, who has been everywhere, omniscient as a little god): "life is cheap nothing. "
skeptical and disenchanted This vision is rooted in the world after the flood of blood that unfolds page after page. Can easily fall into the chronic yellowish red. However, it does the opposite, to the extent that the discourse is polyphonic; weaves snippets of popular songs, theories of Linguistics (Vallejo says: "I am the last grammarian of Colombia "), thesis or scientific theories, (Vallejo filmmaker, Vallejo biologist who denies both Charles Darwin as God mad says:" God does not exist and if there is a shit "or" long ago left to believe in stories and I kicked that old Birdbrain. ")
poisonous and iconoclastic discourse of Vallejo is home to the concept of nihilism. know that this is the negation of all values. And when confronted with the social reality of the country devoted to " Sacred Heart of Jesus," the character's conflict spills vain fierce attack on the order of things, unable to defuse the all-consuming despair as fire unquenchable, like a secret fire. In fact, the fire (Prieto Verettes 9 mm: infallible) and blood (or bleeding Sacred Heart) are recurring symbols in the novel. The use of metaphoric images that the narrative does not fall into the simple pamphlet or political satire.
After reading the few pages of this novel, is the sense of dreams. Is a window into hell metropolitan called "Shrapnel " or " Medal where the children of death, these children pray the virgin, blessed bullets and liquor taken after vomiting lead.
However, there are several drawbacks to this work. Although it is part of the formal charge, and is well regarded by literary criticism, its acquisition is costly, taking into account that adds a symbolic capital, due to some bias or pestiferous halito that arose when the texts show us the depths of human condition. Undoubtedly, a book like The Lady of the Assassins, will have few readers, to the extent that the Catholic moral standing between the novel and the receiver peaceful and bucolic.
In As for the movie:
Some see from a mystical or religious view, the fact of going to the movies as something comparable to attend mass. Recall the gloom, the atmospheric element suggestion that both the imagination, so hypnotic and subtle. In this spectrum, we see the revelation of moving images. Paranoid voyeurs, disbelieve that actually written. Maybe from there comes the desire to give our eyes to the camera, to be complicit in the trap of cinema.
Whether traveling on a tacit agreement makes the film version of The Virgin assassins, a rarity in the history of Colombian cinema. The director is an Iranian. The writer is the same Vallejo. Two different languages \u200b\u200bwith good management, both technical and ideological discourse. The high-definition digital cameras show a flawless beauty in the management of the photograph.
also managing a soundtrack according to the inner world of the characters does build character and those sensitive subjectivity. Thus, with some left Vallejo Eurocentric taste, exquisite works of classical music. Your "child", youth, lover or partner, prefer the heavy-metal, so destructive and self-destructive as an angel of death, a metaphor commonly used in Christian literature. The young punk, with that pace pancaótico whipping the drummer, to Charles, the Tones and three solar dishes. All taxi drivers will prefer vallenato "Chief of the Board."
Several spaces are being developed scenes. At times, the assembly is transformed into something non-sequential, given by dream images. Draws attention to an image. This is a recurring trip, which only in the latter part of the belt is highlighted. An ellipsis is anticipated that the dreaded visit from Vallejo to a particular church the only one who has not entered his life, on the vigil, as a young man believed that if he did die on the spot, nonexistent struck by lightning. However, when it finally does, feels that vision, believed to have already been there, perhaps, he thinks, and he was there in another life, and now here is dead, perhaps dreaming or being dreamed up by an evil god.
Such skepticism burlesque, satire and buffoon, is the dose of nihilism in the background showing the film. Pretty applauded by some, very spewed by many others who, for example, bear scenes Vallejo captivates with at least two boys, children who embody the total annihilation of the value of life. Nor will these eyes accomplices or hypocrites, with the burden of the deceased. Although in this case, the hyperbole does not take over the speech, and, as adjectives are poor, the director chooses to moderate crime rate, giving space to dream these deaths, or at least intuit imagine reasonably perhaps to condemn these violent deaths.
Two or three highly charged symbols take over my mind. One, the dog dying in the sewer pipe, raw scene shows a tendency to be self-destructive, the other transmutation wonderful rain water that falls from marginal districts of Medellin (perhaps the Thirteen), which slowly turns into water-blood, a beautiful example of auditory and visual metaphors.
It's nice to travel with the camera. Especially in the burial vaults of a certain church, mentioned earlier. There is, perhaps Vallejo, like flying in a dream, an approach to the name written on the cold stone that seals the remains of rot. In general, the churches look stiff and squalid, are ambulatory for smoking crack cocaine, marijuana green puffs, burn incense and wait in vain God out of His infinite inert silence ... or Vallejo says: "to hear the silence of God" .
This is a topic highlighted. Vallejo, the character of the film strives to curse the fate of the poor, whom he sees as a plague rat poison. Ilk hates the stench of spoiled world, at least one bug cosmic. Or funny, because at the bottom of the bitterness that the film shows, find a satirical sense. Recall that the wave of violence has been the subject of some of the films of the same Fernando Vallejo, bitter as they reflect the social reality of not only this country but of the human condition itself.
As for the novel and film :
We see that the encounter between the narrative and the cinematic language that is much more complex. In fact, Yuri Lotman, in discussing the problems of bringing the literary work to film, draws attention to the associations untranslatable real life, their own semiotic elements of cultural and historical context. Hence the relative failure of this undertaking literary adaptations to film. However, The Lady of the Assassins is an exception to the extent that the script is flawless and the universal theme.
Therefore, we accept the suggestions of Professor Johnston Fabio Valencia, in his Palimpsests , especially when it proposes the creation of teaching of literature based on the screenplay adaptations of stories and poems in short films and the analysis of these works made into films, especially of Colombian literature, novels such as Chronicle of a Death Foretold of (Gabriel García Márquez); Satan (Mario Mendoza), The Araucaima mansion (Alvaro Mutis) or The Lady of the Assassins the aforementioned Fernando Vallejo among many others.
BY:
OSORIO VICTOR HUGO CESPEDES
0 comments:
Post a Comment