Los mundos de Coraline

Coraline, que no Caroline, como hoscamente la llaman alguno de los adultos que dicen quererla, es un niña inquieta, lenguaraz, atrevida, inquilina de una casa de campo de paredes rosas y habitaciones feéricas, de rincones que ocultan, al otro lado de una compuerta de aspecto enmohecido, el reverso idealizado de su propia vida.

Publicado: 05/06/2009

Coraline no es Alicia pero bien podía serlo. Se traslada a otros mundos a través de túneles que, en sus formas, se aparentan a un cordón umbilical. Lo que se encuentra en el otro lado es poco menos que un sueño, es decir: un espejo. Lo rompe como respuesta a su frustración cuando se sabe sola. Teme lo que temen todos los niños de su edad (especialmente, la desaparición de sus padres), pero no se esconde a la hora de enfrentarse a sus miedos; más aún, los combate a mandíbula batiente en cuanto osan no ya solo alterar ese status quo del que renegaba ab initio (sí, como en El viaje de Chihiro), sino aquellos que pretenden emponzoñarlo con falsas promesas, con paraísos impostados.

Los Mundos de Coraline

Son fuentes en la obra de Neil Gaiman tanto el espíritu del reverendo Dodgson como el de Miyazaki, siendo la propia Coraline una suerte de remedo prefabricado con alguno de los caracteres que protagonizaron algunas de sus obras tiempo atrás (por ejemplo Mirrormask), especialmente cuando se adentra en ese universo onírico tan reconocible donde solo unos pasos separan el horror de lo más bello. Así se las gasta Gaiman con los cuentos infantiles. Hay, en fin, brujas arrancaojos con rostro de mujer (¿alguien dijo “complejo de Electra”?), pasadizos oscuros que llevan a otros mundos, gatos que hablan solamente a quien ellos quieren y ratones que bailan al son de la música que ponen otros, sobretodo si son excéntricos. Hay una voluntad decidida de convertir un relato de ascendencia dogmática en un imaginativo catálogo de efectos visuales (atención a los títulos de crédito iniciales), repleto de excesos (todos protagonizados por una pareja de actrices jubilada) y de soluciones narrativas de corte lúcido (la evocación que hace Coraline de sus padres mediante un juego de almohadas). Como ocurrente aliado encuentra Gaiman a Henry Selick y cierra el círculo.

Selick es un viejo romántico, admirador de Trnka, de Harryhausen, de Svankmajer, de las viejas formas de animación basadas en la Stop Motion. Ya no quedan cables ni ganas de mostrarlos (salvo con propósitos argumentales, como ocurre en la excelente Strings de Anders Rønnow Klarlund), pero sí un resultado, de veras, esplendente, detallista, virtuoso, que incluye expresiones faciales de corte dramático, paisajes de diseño inspirados en Kandinsky… El director de Nueva Jersey se sirve de encadenados y de gozosos encuadres en contrapicado, mientras trata de buscar —en su argumento— las claves rítmicas que le garanticen aquella empatía que le faltó en /James y el Melocotón Gigante/, hasta ayer mismo su mejor película. Lo hace despojándose de ornamentos ajenos pero no de mala leche mientras trata de buscar su propio camino, ya alejado de la Disney (donde inició su carrera y su proceso de socialización), más aún, del umbroso universo made in Tim Burton (disculpadme la obviedad: aquí hay un doble sentido) que durante años hipotecó su creatividad en pro del ego de aquel que lo financiaba, y construye una película que mejora (y ya era difícil) el material de base que la da nombre y sentido.

Hablamos, en, fin de una obra de indudable calado artístico, osada en la utilización de su forma, también en su subtexto, que solo huele a almizcle en sus afiches promocionales. Es Coraline, y concluyo, la opus mágnum de Henry Selick. Y no nos inmutamos. Todavía queremos más.

Lo más destacado: la gozosa armonía existente entre su exquisito acabado técnico y algunas particularidades de su entramado. Un ejemplo a seguir.

Lo menos destacado: los niños más asustadizos temblarán durante semanas…

Calificación: 8

J. P. Bango - http://bango.blogia.com/

luna en 29/09/2010

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Los mundos de Coraline

Novedades en Septimovicio

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