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David Cronenberg - A History of Violence
giovedì 6 aprile 2006, di
A History of Violence è un dramma familiare: storia di un uomo qualunque e del suo rapporto con la moglie e i figli, della tipica crisi di mezza età, quella di una coppia, che ad un certo punto della propria vita matrimoniale non si riconosce più.
A History of Violence è un western, in cui i cattivi arrivano nel saloon a minacciare la tranquilla vita di un uomo e della sua fattoria: nella mite cittadina c’è uno sceriffo, ma l’eroe dovrà difendere da solo, col suo fucile, la propria famiglia.
A History of Violence è un noir, in cui un vecchio gangster orbo riporta a galla l’oscuro passato del misterioso protagonista, costringendolo a tornare nei bassi fondi della grande città, per affrontare la vendetta del boss.
A History of Violence è anche

un fumetto: la storia di un ragazzo di nome Joey Muni, che per vendicare un amico, e per curare la nonna cardiopatica, deruba la mafia di New York e fugge, costretto a cambiare identità.
Scrivere della pellicola di Cronenberg, e della graphic novel di Wagner e Locke da cui è tratta, impone una prima scelta di onestà critica. È infatti opportuno chiarire quanto l’autore non ha perso occasione di ribadire ad ogni intervista: il rifiuto di qualsiasi legame fra film e fumetto.
Il regista ha più volte affermato di non aver mai letto il testo, e di aver saputo, solo in una fase avanzata del progetto, quale fosse l’origine del soggetto di Josh Olson.
Ciò non toglie che, evidenziando le profonde divergenze dei due testi, i differenti linguaggi e generi a cui fanno riferimento, sia possibile comprendere meglio il film di Cronenberg, la cui complessità, siamo certi, verrà rielaborata ancora nei prossimi anni.
Il paradosso dal quale partire per capire meglio il film, risiede dunque nel carattere smaccatamente cinematografico del fumetto di Wagner e Locke.
Il disegno non può non far pensare ad uno storyboard: la stilizzazione, le linee convulse che creano una texture approssimata e frenetica, le ombre e i volti squadrati, l’assenza di sfumature, fanno da contrappunto a rapporti spaziali molto definiti e a vignette come articolazioni di piani filmici (pensiamo per esempio alle frequenti immagini dall’alto, e alle vere e proprie panoramiche d’inizio capitolo).
Il linguaggio dei personaggi, i nomi, le ambientazioni, appartengono ad un immaginario chiaramente cinematografico, quello del gangster-movie, che in alcuni momenti può far pensare a Scorsese o a Ferrara, ma più in generale ad un mondo ormai assorbito da quello finzionale.
L’universo della mafia italo-newyorkese, forse troppo rimasticato, o comunque considerato usurato da Cronenberg, che eliminerà qualsiasi nome italo-americano, a partire da quello del protagonista, e sposterà l’azione fra l’Indiana e Philadelphia.
Di cinematografico, però, il fumetto ha soprattutto caratteristiche

strutturali: John Wagner, già autore di Judge Dredd, è noto per il suo approccio da sceneggiatore alla narrazione grafica. Tutta la graphic novel poggia sul flashback centrale, che ci spiega il passato di Tom/Joey, come e perché inizia la “storia di violenza” del ragazzo: una sorta di parabola morale sul sacrificio, su errori di gioventù commessi in buona fede, e su come essi possano continuare a perseguitarci.
Cronenberg rende subito chiaro l’azzeramento dei rapporti fra i due testi, che si traduce innanzitutto sul piano visivo: nel rifiuto dell’equazione grafica, tipica del film/fumetto, che semplifica la struttura a vignette attraverso il montaggio, nella maggior parte dei casi spericolato, o spesso articolato nella sintassi di campi e controcampi. Il film, inizia al contrario con un congelato e lentissimo piano-sequenza. Il montaggio, dunque, non sarà mai elemento centrale in A History of Violence. Nessuna prevedibile esplosione di montaggio convulso, nei momenti di violenza: in essi, come in tutto il film, vi è invece un’implosione, o piuttosto un montaggio interno all’inquadratura (fin dall’inizio le situazioni si evolvono allo svelarsi, spesso con un carrello, di un particolare fuori campo o nascosto da un ostacolo). La partita si gioca nelle angolazioni e nei rapporti spaziali, in questo sì, esattamente come nel western (riferimento evidenziato anche dalla continua presenza di cavalli: nello steccato degli Stall - nome che può anche essere tradotto come stalla - nel bar di Philadelphia, nei quadri del fratello Richie).
Basti pensare alla sequenza del duello con Fogarty nel cortile, girato dal punto di vista della moglie che

osserva dalla finestra come in un western di Fuller, alla posizione dei cinque personaggi e a come la figura del figlio sia rivelata dal corpo stramazzante del killer. La stessa immagine della locandina, è un gioco focale e d’inclinazione della macchina da presa.
A livello iconografico è però molto più significativo il rapporto con il noir: i due killer nel bar, il gangster con un occhio solo, il passato che bussa alla porta, tutti elementi riconducibili a questo immaginario. Soprattutto la figura di Viggo Mortensen non può che far pensare allo “svedese” di The Killers di Hemingway-Siodmak-Tarkovskij (più di tutti all’imponente Ole ’Swede’ Andersen/Burt Lancaster della versione di Siodmak).
La differenza con The Killers sta nell’assenza di un flashback esplicativo (presente invece in Spider, film parallelo a History of Violence, fondamentale del Cronenberg post-Crash).
Si tratta della prima delle aspettative deluse: mentre nel fumetto il flashback è l’occasione per arricchire di spessore tragico la figura del protagonista, qui l’autore si libera di qualsiasi zavorra moralista, e gli unici accenni al passato di Joey vengono da Fogarty o dal fratello Richie, i quali ne parlano solo en passant, come di un pervertito, uno psicopatico, un sadico violento.
Elencare ognuna delle differenze strutturali richiederebbe fin troppo spazio, sono infatti molteplici le cesure e le omissioni operate dallo sceneggiatore Josh Olson in fase di adattamento: più interessante ci sembra evidenziare i perché di tali scelte.
Innanzitutto ci si deve chiedere perché il protagonista, che nel film si materializza nel corpo sofferente, mutilato, brutalmente mascolino di Viggo Mortensen, nel fumetto ci appaia come un uomo medio, occhialuto, un perfetto Clark Kent dall’eroismo latente.
A questo rispondiamo subito: nel fumetto non sussiste un vero dualismo, c’è soltanto un errore di gioventù, nascosto, rimosso, e alla fine tornato a galla: tutto viene svelato dal flashback centrale, metabolizzato, accettato subito, da personaggi e lettori.
Nel film, vi sono invece due identità distinte, in conflitto, ma Inseparabili, che si riveleranno solo parzialmente, emergendo nei momenti carnali: di violenza, ma come vedremo, soprattutto in quelli di sesso. A History of Violence è un viaggio, quasi psicanalitico, nella sfera intima, e soprattutto nei rapporti familiari.
Nel fumetto, il figlio di Tom è un personaggio insignificante, un teen-ager ben integrato, che parla slang e porta il berretto da baseball al contrario. Perché per Cronenberg è invece un groviglio di complessi, pulsioni represse, un effeminato picchiato e umiliato dai bulli della scuola? Perché sarà proprio il figlio, e non la moglie, come nel fumetto, a salvare il protagonista, uccidendo Fogarty?
Nel fumetto, Edie è la brava mogliettina che aiuta Tom a gestire il suo diner. Perché nel film sarà un intraprendente avvocato, una donna dal volto ossuto e dal corpo cronenberghianamente scarnificato?
Perché Richie, sullo schermo sarà il fratello di Joey, e non un semplice amico d’infanzia?
Quesiti che ci portano al nodo centrale di A History of Violence. Proviamo ad eliminare la storia di gangsters, di cui in nessun momento viene specificata l’entità, e cerchiamo di capire quello che Cronenberg vuole davvero mostrare: un uomo e la sua crisi familiare.

All’improvviso la moglie non lo riconosce più, lui la prende a schiaffi, è costretto a dormire sul divano. Picchia anche il figlio, e ne perde stima e fiducia.
Va a trovare il fratello, il quale gli chiede se è davvero felice con la vita matrimoniale, e gli consiglia quella da scapolo. Dopo questa fuga nel passato, come accadrebbe probabilmente nella realtà, Tom torna a casa e viene riammesso al desco familiare, la lite è finita, la famiglia ricomposta. History of Violence è evidentemente un film di personaggi, la cui polarità impazzirà nel momento di metamorfosi di Tom/Joey. Il fulcro del film è proprio la casa, la famiglia. Cronenberg ci porta astutamente fra scatole di cereali, centri commerciali, in un repertorio (tele)visivo rassicurante, proprio di un’America provinciale e lavoratrice. La violenza che tutti aspettano non viene però fuori nelle sparatorie, che si risolveranno piuttosto sbrigativamente, bensì nel rapporto fra Tom e Edie Stall: è una violenza intima, profondamente fisica. È il sesso a muovere le leve del film, e il personaggio del figlio, frustrato dalla propria inadeguatezza, caricatura di “anti-maschio dominante”, ne è la più chiara rappresentazione figurativa.
I fan di Cronenberg delusi dall’assenza delle manipolazioni carnali tipiche del regista, non si saranno forse soffermati sulle scene erotiche del film: la figura composta dai due amanti nella prima di queste, comunemente detta 69, ricorda le forme insettoidi degli strumenti de Gli Inseparabili (facile relazionare questi due film, anche se l’opera a nostro parere più vicina a A History of Violence è l’ultima di chiara ambientazione americana: The Dead Zone). Sarà solo dopo la riscoperta delle proprie tendenze omicide che Tom completerà l’atto sessuale con la moglie, nella violentissima sequenza sulle scale (pare che la successiva inquadratura, quella del livido sulla schiena della donna, sia il risultato di un trucco: l’attrice aveva infatti riportato molti più ematomi durante le riprese della scena). La coscienza del corpo cronenberghiana è vivissima anche nel modo in cui sono filmate le sparatorie: molto ravvicinate, quasi pornografiche. A dispetto di quanti accusano l’autore di essersi perso, a partire da Spider, o addirittura da Crash, si può dire che il canadese abbia ancora le idee chiarissime su che cosa è cinema. In A History of Violence, l’idea monomaniacale del regista, ancora oggi ripetuta in ogni intervista, per cui attraverso la riflessione sulla tecnologia sia possibile capire meglio l’uomo, il funzionamento della sua mente e la sua creatività, è solo latente. Il momento di svolta del film corrisponde però con la riparazione del pick-up di Tom, fino ad allora dipendente dalla poco virile station wagon della moglie, se non costretto a zoppicare dolorosamente. Allo stesso modo, l’antagonista, che nel fumetto ha un tipico nome da mafioso (John Torrino), nel film omaggia la leggenda delle corse motociclistiche: Carl “the king” Fogarty. Quest’estate, a Venezia, il regista ha presentato Red Cars: libro grafico sulla Ferrari del 1961, nato da un progetto mancato sul fascino erotico delle macchine da corsa. Non ci sembra azzardato parlare dell’opera di Cronenberg come di una rarissima espressione, nel cinema contemporaneo, di una precisa idea di fotogenia, legata, ancora una volta, all’Intelligenza della Macchina.

A History of Violence (2005)
USA, 90 min. (colore)
Regia: David Cronenberg
Sceneggiatura: Josh Olson
Cast: Viggo Mortensen, Maria Bello, Ashton Holmes, Ed Harris, William Hurt.
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