“Hot Fuzz” de Edgar Wright

Nick Frost y Simon Pegg en “Hot Fuzz” (2004), Edgar Wright

JEREMY OCELOT |

En 2004 Edgar Wright libera al público la genial, divertida e incluso cruenta Shaun of The Dead. Con su debut como director cinematográfico, no sólo demostró su amplio conocimiento del encuadre y la edición, ambos al servicio de un perfecto timing cómico, sino también, que fuera de la parafernalia de Romero o la franquicia de videojuegos Resident Evil, el mundo zombie tiene mucho de dónde explotar, y con creces.

Tres años después presentaría Hot Fuzz, nuevamente de la mano de Simon Pegg y Nick Frost, como la otrora pareja de absurdos compinches, en un relato donde los zombies no son el leitmotiv sino el absurdo mundo policial de la Inglaterra del siglo XXI.

El sobrecalificado oficial de policía Nicholas Angel es transferido a un pequeño pueblo en la provincia de Inglaterra luego de que pone en evidencia las deficiencias (o mejor dicho la mediocridad) de sus compañeros de la policía londinense. A su arribo a la obtusa comunidad de Sanford, se hará amigo de Danny (Nick Frost en modo adorable), un oficial bonachón y torpe; quién será su único aliado en su postura crítica ante la aparentemente perfecta fachada del pueblo.

Hot Fuzz es una producción por demás ambiciosa que se propone explorar al máximo el absurdo y el lugar común en el cine; y lo logra con creces debido a cuatro factores: el excelente guion —de la mano de Pegg y Wright—, donde se nos bombardea con infinidad de bromas físicas (por lo menos un gag por plano) y un frenesí de referencias cinematográficas; la dirección de Wright, la cual incluso podría servir como manual de dirección cinematográfica para distintos géneros; el uso de la edición de una forma incluso más efectiva que el visto en las películas que pretende parodiar/homenajear; y las actuaciones de Frost y Pegg: la perfecta combinación de incompetencia y simpatía que genera Frost, que ayuda a anclar el donde la rígida cara de Pegg es casi un milagro a lo largo de una broma que dura casi dos horas.

Llamar a la segunda entrega de The Cornetto Trilogy (y en opinión de un servidor la mejor de la saga) un pastiche, sería injusto y por demás simplista. Si bien se trata de un por demás barroco ejercicio de homenaje al cine (en general, pero más en específico al cine británico), donde se pueden encontrar referencias desde Michael Bay hasta Monty Python.

Lo inteligente de todo el asunto recae en que, a pesar de la infinidad de referencias (y no es hipérbole) encontradas a lo largo de la película (algunas evidentes, otras no tanto); Hot Fuzz se sostiene por sí misma y se distingue en primer lugar porque sus referencias van a un ritmo tan vertiginoso que incluso un conocedor del cine no logrará captar todas en una sola sentada. Además, la fugacidad de las mismas no permite que se le relacione con una sola película sino con varias, y por tratarse de piezas tan distintas y variadas, al momento de ensamblar el producto final, cada pequeño instante homenajeado queda resignificado en función del relato de Wright, adquiriendo un sentido nuevo.

Es precisamente en el exceso donde encuentra su identidad el segundo largometraje de Wright, en un relato que lo mismo podría ser calificado como comedia, película de acción, farsa, thriller, buddy movie, romance, etc… En lugar de evitar el cliché, siguiendo su línea de exceso, Wright y compañía lo explotan hasta su máxima expresión, resultando en momentos verdaderamente hilarantes, como aquélla referencia a Point Break. Infinidad de personajes y actores desfilan, en una película donde mucho es poco y demasiado es lo mínimo esperado. Pero cuyos actores tienen una razón de ser, y donde uno de ellos forma parte del gag más largo que trasluce durante casi toda la película y que hace referencia a cierta emblemática producción del cine de terror británico de 1973. Por si el asunto no estuviera lo suficientemente abarrotado, podemos encontrar también hilarantes tintes homoeróticos y referencias al cine giallo.

Pero el filme de Wright no es sólo un collage de referencias cinematográficas y excesos, es un trabajo transgresor, que cuestiona el sistema policial del país con la ciudad con más cámaras de vigilancia en el mundo, a la vez que se burla del arquetípico idilio provincial estandarizado en todo el orbe, e incluso cuestiona un sexismo aceptado por las propias mujeres. Un filme inteligente donde para entender todos los gags no sólo basta con haber visto todas las películas referenciadas, sino dominar el inglés británico, poner atención a cada uno de los planos, e incluso entender las referencias a la cultura pop (pues los subtítulos en español que circulan con ella no les hacen justicia). Un trabajo arriesgado donde a dos tercios del filme, el mismo se trastoca en algo completamente distinto, para dar paso a un tercer acto (con tintes de spaghetti western) que si bien es amado/odiado, jamás podría tacharse de anticlimático.

Lo que bien puede sonar y haber sido la pesadilla de cualquier cinéfilo, termina por ser una de las entregas más genuinas, únicas y entretenidas en el más amplio sentido de la palabra, en la historia reciente del cine.

| RMM | JO | @JeremyBelmondo |

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