La terrible levedad de lo eterno

Por: Gabriel MirandaDay_of_the_Dead_(film)_poster

Zombis, un cliché del cine. Para muchos son únicamente “churros” cinematográficos. Sin embargo, éstos son una especie que genera emociones bipolares: te pueden aterrorizar a tal grado que húmedos calzoncillos amarillentos sean el precio por ver alguna de sus cintas, o bien, que dicho cambio en la tonalidad se deba a las risas fruto de cada acción de los “descompuestos vivientes”.

“Las películas de terror ya no dan miedo”, “Sólo veo las de zombis porque me hacen reír demasiado”, son algunos de los comentarios que se escuchan en la Cineteca Nacional antes de comenzar el Zombiton dedicado a George A. Romero.

La sala está a punto de abrir sus filas a cinéfilos no muertos, ansiosos de cerebros y carne, fantasías transmitidas desde una pantalla. En su mayoría jóvenes adolescentes que vienen en grupo, una que otra pareja que aprovecha la ocasión para una “terrorífica cita”, o aquellos adultos que quieren volver a ver los clásicos con los que crecieron.

Comprar boletos para las cuatro funciones programadas se convierte en una locura. No basta con ser buen matemático, además debes tener maña, de lo contrario serás víctima de la presión, del taquillero, de los otros compradores, de tus amigos o de ti mismo. Frases como “No espera, nos dieron más boletos”, “Me dieron mal el cambio” o “¿Me estás diciendo que pediste 9 boletos, te dieron 12 y te cobraron 13?, qué güey eres”.

Una sola película por vez es proyectada en el inmueble. Las películas de arte han sido conmutadas por armas, cerebros destrozados, sangre, sangre y más sangre. El ciempiés humano lo rodea todo esperando paciente su ingreso. Al entrar, cada falange se dispersa en decenas de partes para retozar cómodamente en los asientos de la sala, no importa sean butacas o en las duras escaleras, lo único que importa es estar dentro.

El humor es relativo en estos filmes. Desmembrar a una persona hasta que las vísceras sean derramadas por todos lados y su sangre fluya por el suelo, puede ser divertido. Las expectativas que se crean a partir de nuevos y mejores efectos especiales generan una respuesta diferente en contraste con los métodos rústicos utilizados en épocas pasadas. Las emociones, el miedo, el pánico también son forjados por imágenes que resulten verosímiles al público.

El Amanecer de los Muertos (Dawn of the Dead), filmada Romero hacia 1978, provocó gran bulla al verse las primeras cabezas explotar bajo la acción de poderosas escopetas. La mezcla de policías, motociclistas, ladrones y una sobrepoblada ciudad por zombis lograban que la afición aclamara el filme.

Decenas de directores han hecho una industria con historias de este tipo. Sin embargo Romero trazó el camino por el cual los zombis se arrastran en busca de carne humana. Él hace uso de ellos para dar una crítica a la sociedad. Para él, un muerto viviente no es sólo un cadáver inútil que se mueve lento y busca saciar su hambre.

Cada película es una analogía sobre lo que se ha convertido la conducta humana. Cuerpos que a pesar de no tener estómago siempre buscan llenar su hambre, su sensación de vacío. Durante más de 6 horas de ciclo, el público se dio cuenta de la humanización a un terrorífico muerto viviente. Muestra clara es El Día de los Muertos (Day of the Dead) de 1985, la cual plantea conductivamente la posibilidad de integrar en la sociedad a un zombi.

La película corrió con un inicio lento. Las personas dudaban que pudiera ser mejor que la anterior. El personaje con el que tratan de probar esta posibilidad de socializar es Bub, capaz de hacer cosas “humanas”. Desde afeitarse el vello facial hasta apreciar música de Beethoven. De inmediato la gente se enamoró de este singular antihéroe.

En un cine está prohibido hablar fuerte, está mal visto hacer chistes en voz alta, está individualizado o se cierra únicamente a los espacios ocupados por tus acompañantes. Pero entonces, en la Cineteca Nacional estaba prohibido no hablar, no gritar, no aplaudir, no exaltarse y no conversar con el extraño de al lado, simplemente estaba prohibido no estar en la película.

La acción, desesperación y la exaltación desbordaban con el andar de la cinta. El público no necesitaba anteojos 3D para sentirse dentro de ella. “¡Ya mátalo cabrón!”, “¡Voltea hay un zombi detrás de ti!”, el clásico “¡Coooorrreeee!” eran los gritos de los jóvenes fanáticos de la cinta.

El momento más memorable de la cinta se lo llevo Bub (perdón por la subjetividad, pero cualquiera que conozca la película entenderá la emoción). Así es, el zombi educado para ser un individuo más en la sociedad, cobra venganza por la muerte de su creador. Toma una pistola y asesina al culpable, se despide de él con un saludo militar y espera a que sus compañeros le devoren. Gran ovación. Cual si fuera una obra de teatro en la escena principal, el auditorio repleto aplaudió al valiente zombi. “¡Eso Bub!, ¡Yo quiero uno de esos!” exclamaban los presentes después de tan curiosa escena.

Hay ciclos de cine erótico, semanas internacionales, películas de directores leyenda, pero la terrible levedad de lo eterno, representada por un zombi es para vivirse de lleno en una sala de cine.

IM

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