El último vuelo de Bruno Ganz (actor suizo, 1941-2019) por Alberto Bejarano

El último vuelo de Bruno Ganz (actor suizo, 1941-2019) por Alberto Bejarano

Bruno Ganz
Imagen tomada del portal www.imdb.com

Quizá la vida de un actor se resume en algunos de sus roles memorables. En el caso de Bruno Ganz, los más jóvenes recordarán sobre todo su interpretación del Hitler derrotado y tembloroso en La Caída (Hirschbiegel, 2004), los menos jóvenes como yo, el ángel caído en El cielo sobre Berlín (Wenders, 1987) y los que nos preceden, Nosferatu (Herzog, 1977) o El amigo americano (Wenders, 1977). ¿Con qué imagen nos quedaríamos, entre tantas otras? ¿Qué rostro, gesto y movimiento conservará y transmutará nuestra memoria? Ganz fue uno de los grandes actores europeos de la posguerra: su formación proviene de los grandes trabajos del teatro alemán, entre bastidores clásicos (Ibsen, Kleist) y las vanguardias posteriores a Brecht. Llegó al cine como un extraviado de las tablas, sin dejar de imprimirle a sus papeles ese sello de profundidad en la voz y la expresión gestual, como puede apreciarse en su última intervención casi espectral como voz en off de la última película de Lars von Trier.

Bruno Ganz NosferatuNosferatu (Herzog, 1977) - Imagen tomada de www.imdb.com

Como buen europeo, en el mejor sentido de la palabra, sus personajes sabían atormentar su conciencia. Uno de sus primeros roles, en la película del francés Erick Rohmer, La marquesa de O (1976), mostraba el lado oculto de las luchas patrióticas y los nacionalismos y a referirse a su papel como el senil Hitler, manifestó que “hubiera preferido interpretar al joven Adolf, donde quizá estaban más patentes sus contradicciones…y las de su sociedad”. En un documental sobre su vida y obra, titulado, Behind me (Wiedmer, 2003), Ganz habla con una voz sosegada de sus búsquedas estéticas y de su método para entrar en los personajes: lo vemos más cerca y más lejos de todos sus papeles, aunque quizá uno que podría reflejarlo más de cuerpo entero sea, como suele ocurrir, uno que actuó en una película menos conocida, pero memorable. Nos referimos a su rol como el poeta Ezra Pound en “Hemingway” de José María Sánchez (1989)…Su voz resuena con estos ecos de Pound:

“Reúno estas palabras para cuatro personas,
alguien más puede cazarlas al vuelo,
oh mundo, lo siento por ti,
no conoces a esas cuatro personas.”

Si tuivera que elegir uno de sus papeles, me quedaría con el Bruno Ganz de El cielo sobre Berlín, película de Wenders (de su triologia de Berlín), con guión de Peter Handke. Recuerdo haberla visto en un cine club de la Universidad Nacional a mediados de los años noventa, en un ciclo memorable de nuevo cine alemán…Es la gran película sobre la necesidad de volar sobre los muros (materiales o imaginarios), sobre las barreras que nos separan de otras realidades posibles. Poderosa utopía sobre la fantasmagoría de uno mismo, como aquella escena del tren, cuando Ganz (Damian), el ángel caído, escucha los pensamientos de los atribulados pasajeros, en una especie de polifonía hiper fragmentada, con un travelling ligero que nos muestra rostros, manos, piernas de los ciudadanos melancólicamente extrañados del mundo, en un blanco y negro mortal. Dos minutos después, la cámara vuelve a la cara de Ganz… “¿por qué vivo?, por qué vivo?”, dice una de esas almas. Yo elegiría esta película como uno de los diez grandes retratos existenciales del hombre moderno. ¡Qué distinto se ve el mundo de arriba hacia abajo! ¡Qué distinto se percibe entre iguales! Junto a Ganz, la voz de Nick Cave revuelve las tormentas silenciosas de nosotros, los otros pasajeros de esos trenes demasiado ruidosos por solitarios…Recordemos que la película antecede en dos años la caída del muro de Berlín, y por ello, será inmortal siempre como alegoría del vuelo.

Alberto Bejarano, Profesor e investigador de literatura comparada en la maestría de literatura del Instituto Caro y Cuervo de Colombia. Hizo su tesis de doctorado sobre Bolaño en la Universidad París 8. Escritor de ficciones.

otrasinquisiciones@hotmail.com

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