Alicia: un filme sin maravillas

alice-burton-wonderlandYa mucho se ha escrito y dicho sobre la más reciente película de Tim Burton; a estas alturas son pocos los que no han asistido a las salas de cine a verla. Se creó mucha expectación cuando se dio a conocer que Burton estaba adaptando este clásico de la literatura; las fotos de la filmación anunciaban una gran obra, algo visualmente deslumbrante. Tal vez, el error que muchos cometimos fue esperar demasiado de lo que podría resultar de la oscura visión del director y un gran clásico de la literatura infantil.

El resultado fue decepcionante. Si bien, se han realizado bastantes adaptaciones del cuento (desde miniseries para televisión hasta versiones checoslovacas de corte surrealista), por fin íbamos a poder disfrutar de la visión “burtoniana” de la historia. Sin embargo, algo pasó en el momento de adaptar el relato. Tim Burton decidió dar continuidad a los dos libros de Lewis Carroll (Alicia en el país de las maravillas, y, Alicia a través del espejo y lo que encontró ahí), para mostrarnos a una Alicia crecida, en proceso de convertirse en adulta e insertarse como mujer en la sociedad. Es decir, nos encontramos ante el mismo caso que sufrió Peter Pan con Steven Spielberg en el filme Hook (1991).

Alicia tiene 19 años, está a punto de ser pedida en matrimonio, y antes de la ceremonia corre tras un conejo blanco y cae en la madriguera. Alicia ha regresado al País de las Maravillas, sin embargo, ya no es  la niña preguntona y curiosa. Por su parte, los habitantes del País de las Maravillas han dejado de ser aquellos personajes sin sentido, convirtiéndose en habitantes asustados en busca de ayuda. En este nuevo viaje,  Alicia es la elegida, con ayuda de la Reina Blanca, para derrocar a un dragón y salvar a esta fantástica tierra del malvado yugo de la Reina Roja.

Ahora bien, no todo debe ser culpa del realizador. Linda Woolverton, guionista de The Lion King (1994) y Beauty and the Beast (1991),  fue la responsable de adaptar esta historia. En esta reinterpretación-continuación, el cuento de Lewis Carroll se transforma en una suerte de aventura épica al más puro estilo de Las Crónicas de Narnia o El Señor de los Anillos (guardando las respectivas distancias); historia en la que se deben encontrar espadas mágicas, matar dragones y salvar reinos de malvados gobernantes.

Todo se ha racionalizado, la esencia del libro se perdió. Aquella aguda crítica a la sociedad victoriana, aquellos personajes fantásticos e irracionales, los sarcásticos comentarios, y la Alicia curiosa e ingenua que es insultada en cada capítulo, han desaparecido. Por si fuera poco, el personaje del sombrerero loco gana un protagonismo sin precedentes, producto de la dinámica Burton-Depp que ya se está gastando (vemos a Johnny Depp en su papel de Johnny Depp de hace 5 películas). Sin problema alguno, la película pudo llamarse: Alicia en las Crónicas de Narnia o El Sombrero Loco Recupera la Cordura.

Pero no todo es malo, un cineasta como Tim Burton que a finales del año pasado mereció una exposición en el MoMA (acrónimo en inglés de Museum of Modern Art, Museo de Arte Moderno de Nueva York) es un maestro en lo visual. Sus característicos árboles con ramas en espiral que tanto recuerdan a The Nightmare Before Christmas (1993) ahí están. Él se había caracterizado por mostrarnos personajes marginados, el lado humano de los monstruos y fenómenos, y sobre todo, mundos y ambientes que recuerdan películas de terror de los años 30 y al expresionismo alemán. Poco a poco esto se ha ido acabando. Lo que queda de aquel joven vetado por Disney por su oscuro cortometraje en stop-motion titulado Vincent (1982), apenas se alcanza a vislumbrar. ¿Será que  la industria lo ha ido absorbiendo lentamente y ahora juega bajo sus reglas?

Querer continuar, o “reinterpretar” un clásico de la literatura, es tarea peligrosa. En este caso, hubiera sido mejor seguir la obra original y adaptarla en un sentido visual, desde el particular estilo de Tim Burton; desgraciadamente esto no sucedió.

RL/CO

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