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Walser e o Cinema (uma aproximação breve e provisória)

Tenho de escrever um texto sobre as relações – ou possibilidades de relações – entre Robert Walser e o cinema. A minha primeira frase foi assertiva: (pela sua exuberância e quebra de regras) os textos de Walser não são propícios a adaptações; quanto às idas aos cinemas-cabaret na Berlim imoral, alinho. Branca de Neve abre e logo a seguir fecha o único caminho que consigo ver (em termos de estrelas curriculares, é um dos melhores filmes falhados que conheço). 

Mas ontem de manhã, na praia, tive uma ideia para um filme (curto, curtíssimo) que envolve Walser. 

Hoje voltei à mesma praia e fechei a planificação – até vi o genérico. Ficou tudo azul e verde diante dos meus olhos. Oh!
Por c Etiquetas:

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André Dias disse…
(Even when I was still an unquestioning Catholic, I was disappointed that my uncle could draw on no more peculiar source of inspiration than the religion that he had been born into. My own colours, which existed only in my mind against one or another view of one or another image of a racecourse in the background of my mind, were at that time a complicated arrangement of lime-green and royal-blue. These two colours were seldom used by owners of racehorses in the 1950s. I had chosen the colours as my own on a certain Sunday morning when I was sitting in the largest Catholic church in the coastal city mentioned several times in this piece of fiction. Instead of following the service or trying to pray, I had been searching for likely combinations among the colours in the large window of stained glass above the altar. I had taken the royal-blue from certain parts of the cloak worn by the image in the window of the personage who would have been addressed in their prayers by most of the congregation as Our Lady. The lime-green I took from the robe of a minor angelic attendant of the blue-robed personage. I chose the two colours not because of their setting in the stained-glass illustration but because of what I thought of as the background of the illustration. The wall behind the altar was at the northern or inland end of the building. If, by some preposterous means, I had been able to look outwards through the coloured glass, I might have seen, as though it comprised part of the background behind the personage known as Our Lady and her angelic attendants, a view of the southern-most district of the western plains of Victoria, which view would have comprised mostly level countryside with lines of trees in the distance. Even without any means of looking outwards through the glass, I was still able to see in my mind a semblance of that view. Whenever I looked at an image of my racing colours in my mind, I looked through the lime-green at mostly level grassy countryside and through the royal-blue at lines of trees in the distance.)
[Se Faulkner, dizem, é o grande luminista da literatura, Murnane estará entre os seus grandes coloristas.]
28 de julho de 2025 às 22:08
c disse…
Obrigada, André.

É bonito o que ele faz com as cores.

Vou anotar: Gerard Murnane.
29 de julho de 2025 às 07:56
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