sábado, março 08, 2014

Buddy Buddy (Billy Wilder, 1981)

Transcrevo abaixo um pequeno trecho da longa entrevista que Cameron Crowe fez com Billy Wilder, posteriormente convertida em livro, Conversations with Wilder (1998).


Cameron Crowe: Buddy Buddy (1981) is one of the earliest films in a genre that has now come into its own – the hitman comedy.
Billy Wilder: [Unenthusiastic] Yeah, maybe.
CC: But in Buddy Buddy, Matthau´s hitman is the protagonist. Long before Pulp Fiction (1994) or even John Cusack´s Grosse Point Blank (1997), you and I.A.L. Diamond faced the very difficult tone challenged of basing a comedy around a hired killer.
BW: Yes. Tone is always difficult in a picture like this.
CC: What advice would you give a director attempting black comedy today?
BW: You´ve got to have talent for it. Get a good story. Buddy Buddy was not my kind of experiment, not the kind of comedy I had an affection for. I did it once. Here is the problem. The audience laughts, and then they sort of resent it. Because it´s negativity. Dead bodies and such. If you hold up a mirror too closely to this kind of behavior, they don´t like it. They don´t want to look at it. Same with me. But I would not especially call Buddy Buddy a black comedy, more like a broad comedy.
CC: Were you ever close to directing anything after Buddy Buddy?
BW: I kind of pooped out by the end of the picture. Nothing came along. Diamond then died. I wanted to quit. I wanted to quit when I was eighty. I quit when I was eighty-two.


Por Cameron Crowe

Buddy Buddy is the Godfather of a genre that would take hold years later – the hitman comedy. Walter Matthau again pairs with Jack Lemmon in this dark and frisky tale of a world-weary assassin (Matthau) and the suicidal executive (Lemmon) who complicates his job. “I take no credit for this genre”, says Wilder today. “I don´t believe in genre”. Production values are minimal here. Buddy Buddy is not the most visual of Wilder´s films – the rear projections behind many of the scenes strip it of much lyricism – but it´s lively, with an assured sense of its day. We are a long way from Ninotchka, however, when Matthau, who brings a kinetic deadpan energy to his role as a killer, tosses off surprising lines like “Are you out of your fucking mind?” Klaus Kinski appears as Dr. Zuckerbrot, a bizarre sex therapist who has entranced Paula Prentiss, playing Lemmon´s ex-wife. One can only imagine writing-room conversation that resulted in Wilder and Diamond´s first pot joke. (The play on which it is based was also made into the 1974 French film, L´Emmerdeur, released in America as Play in the A__). And yet you´re never far from reminder that you´re in the comic hands of Wilder and Diamond. Says Kinski in one memorable speech: “Premature ejaculation means always having to say you´re sorry”. The film ends on a freeze frame of Walter Matthau enjoying a cigar, facing paradise on a deserted atoll populated by gorgeous island women… and Jack Lemmon. Wilder´s last film is also a love letter to his favorite comic duo, who attack their parts with real zest.

Nenhum comentário:

Postar um comentário