La Academia Americana de Cine, AFI para los amigos, ha publicado una lista con las mejores citas de la historia del cine americano. Lo que más me importa destacar es que este catálogo de frases es posible gracias a una actividad cinematográfica que en España está subdesarrollada: la realización de un guión. En los EE.UU. los guiones se hacen en equipo, pasan por diferentes manos (aunque al final sólo lo firmen uno o dos). Y dentro de los equipos hay una especialidad, la de los "dialoguistas" que se ocupan de trufar la acción de ingeniosidades lingüísticas. Hoy es en las series de TV dónde trabajan los mejores dialoguistas, en Los Simpson, en CSI Las Vegas o Los Soprano es dónde se pueden escuchar las mejores réplicas y contrarréplicas.
¿Cuáles han sido los mejores dialoguistas? En mi opinión Ben Hecht, Charles Mac Arthur, Herman Mankiewicz y los extraordinarios Brackett, Leigh y Charles. Del tercero decía Kael que era el verdadero autor de Ciudadano Kane, y de paso ponía a caer de un burro a Welles, en un artículo célebre. En las películas de Hawks y Wilder, entre otros, se pueden comprobar sus más que benéficas aportaciones.
Las diez mejores son según la votación:
1 Frankly, my dear, I don't give a damn. GONE WITH THE WIND 1939
2 I'm going to make him an offer he can't refuse. THE GODFATHER 1972
3 You don't understand! I coulda had class. I coulda been a contender. I could've been somebody, instead of a bum, which is what I am. ON THE WATERFRONT 1954
4 Toto, I've got a feeling we're not in Kansas anymore. ThE WIZARD OF OZ 1939
5 Here's looking at you, kid. CASABLANCA 1942
6 Go ahead, make my day. SUDDEN IMPACT 1983
7 All right, Mr. DeMille, I'm ready for my close-up. SUNSET BLVD. 1950
8 May the Force be with you. STAR WARS 1977
9 Fasten your seatbelts. It's going to be a bumpy night. ALL ABOUT EVE 1950
10 You talking to me? TAXI DRIVER 1976
El resto, aquí
PD. La intervención de rojobilbao me ha hecho recordar el momento en que más me he reido en una película española. En esa obra maestra que es Amanece que no es poco:
Saza: ¡Pero hombre de Dios! ¡Pero como se le ocurre plagiar a Faulkner! Sabiendo que en este pueblo es verdadera devoción lo que tenemos por Faulkner.
O la genial:
¡Yo no aguanto este sin Dios!!!
Álvaro lo explica mejor.
Hasta la vista, baby
3 comentarios:
Curiosamente sin ver las repsuestas yo ya estba pensando en DeNiro y su You talking to me?
Visto la votaciones creo que sólo go ahead, make my day sea ligeramente superior.
Y resulta detestable la chorrada de May the Force be with you
En español me quedaría con el impagable es que un hombre enb la cama, es un hombre en la cama de Luis Ciges en "amanece que no es poco"
Tines razón. Solucienómoslo:
I've never seen a woman who was more a man; she thinks like one, acts like one and sometimes makes me feel like I'm not. Sam describing his employer Vienna.
You want The Kid and you're so ashamed of it, you want him dead. You want me dead, too, then maybe you can sleep nights. Vienna to Emma.
Look at her standing there staring down at us like she's a somebody. Emma to Vienna.
You're nothing but a railroad tramp, not fit enough to live among decent people. Emma to Vienna.
I intend to be buried here. In the 20th century. Vienna to Emma and the posse.
Down there I sell whiskey and cards. All you can buy up here is a bullet in the head---now which do you want? Vienna to the posse.
When you boil it all down, what does a man really need? Just a smoke and a cup of coffee. Johnny to the posse.
When a man can't hold onto a glass he should drink like a baby from a bottle. Open your mouth, Guitar Man, I'll feed you. Ernest Borgnine's character to Johnny.
Five years ago I met you in a saloon, now I find you in one. Johnny to Vienna.
I'm not ashamed of how I've got what I have. The important thing is I've got it. Vienna to Johnny.
A man can lie, steal, and even kill, but just as long as he can hold onto his pride he's still a man. All a woman has to do is slip once and she's a tramp. Must be a great comfort to you to be a man. Vienna to Johnny.
Lie to me, tell me all those years you've waited. Johnny to Vienna.
He makes her feel like a woman and that frightens her. Vienna to Johnny, describing Emma's feelings for The Kid.
A posse is an animal, moves like one, thinks like one. Johnny to Vienna.
You're acting like she's some fine lady and doing nothing makes you fine gentlemen --- well, she ain't and you're not. Emma to the posse, describing Vienna.
Boys who play with guns have to be ready to die like men. Vienna to John Carradine's and Ben Cooper's characters.
I'm sitting here in my own house, minding my own business, and playing my own piano--- I don't think you can make a crime out of that. Vienna to the posse.
Nice fella. You've finally got someone to do your shooting for you. That ought to make you real happy. The Kid to Vienna.
We've both done a lot of living; our problem now is how to do a little more. Vienna to Johnny.
Quite an experience to live in fear, isn't it? That's what it is to be a slave.
I've seen things you people wouldn't believe.
Attack ships on fire off the houlder of Orion.
I watched C-beams glitter in the darkness at Tannhäuser Gate.
All those moments will be lost in time like tears in rain.
Time to die.
Publicar un comentario