¿Qué hace que una película tenga un monólogo memorable? No es solamente el guión, sino que tiene que ser una conjunción de cosas que hagan de la escena algo para recordar: actuación, dirección, dirección de fotografía, sonido y una de las más importantes, montaje. Hay demasiados monólogos brillantes en la historia del cine que sería imposible resumirlos en solamente 5, por lo que voy a elegir los que más me gustan y dividirlos en dos entradas. La segunda parte viene el próximo viernes.
10) “CHOOSE LIFE”. TRAINSPOTTING. (1996). Dirigida por Danny Boyle con Guión de Irvine Welsh y John Hodge.
9) “I´LL NEVER DISCOVER THE TRUTH ABOUT YOU”. LAST TANGO IN PARIS. (1972). Dirigida por Bertolucci con Guión del propio Bertolucci y Franco Arcalli.
Bueno, como no encuentro la escena en YT voy a transcribirla, una lástima. Es la mejor escena de la película. Se trata del personaje de Brando hablando al cadáver de su mujer que murió a causa de suicidio y reprochándole haber tenido amantes y nunca haber dejado que él la viera por quien era en realidad.
You look ridiculous in that make-up. Like the caricature of a whore. A little touch of mommy in the night. Fake Ophelia drowned in the bathtub. I wish you could see yourself. You’d really laugh. You’re your mother’s masterpiece. Christ. There are too many f–king flowers in this place. I can’t breathe. You know on the top of the closet? The cardboard box, I found all your, I found all your little goodies. Pens, key chains, foreign money, French ticklers, the whole shot. Even a clergyman’s collar. I didn’t know you collected all those little knick-knacks left behind.
Even if a husband lives 200 f–king years, he’s never gonna be able to discover his wife’s real nature. I mean, I, I might be able to comprehend the universe, but I’ll never discover the truth about you. Never. I mean, who the hell were you? Remember that day, the first day I was there? I knew that I couldn’t get into your pants unless I said, uh, uh, what did I say? Oh, yeah. ‘Uh, may I have my bill, please? I have to leave.’ Remember? Last night, I ripped off the lights on your mother. And the whole joint went bananas. All your guests as you used to call them.
Well, I guess that includes me, doesn’t it? Huh? It does include me, doesn’t it? For five years, I was more a guest in this f–king flophouse than a husband, with privileges, of course. And then, to help me understand you, you let me inherit Marcel. The husband’s double, whose room was the double of ours. And you know what? I didn’t even have the guts to ask him. Didn’t even have the guts to ask him if the same numbers that you and I did were the same numbers you did with him.
Our marriage was nothing more than a, a foxhole for you. And all it took for you to get out was a 35-cent razor and a tub full of water. You cheap, goddamn, f–king, god-forsaken whore. I hope you rot in hell. You’re worse than the dirtiest street pig that anybody could ever find anywhere, and you know why? You know why? Because you lied. You lied to me and I trusted you. You lied. You knew you were lying! Go on, tell me you didn’t lie. Haven’t you got anything to say about that? You can think up something, can’t you? Huh? Go on, tell me something! Go on! Smile, you cunt. Go on, tell me, tell me something sweet. Smile at me and say – I just misunderstood. Go on, tell me. You pig f–ker. You goddamn, f–king, pig f–king liar.
(weeping and sobbing) Rosa, I’m sorry. I-I just can’t, I can’t stand it, to see these goddamn things on your face. (He peeled off her fake eyelashes) You never wore make-up. This f–king shit. I’m gonna take this off your mouth. Your hair…This lipstick. Rosa. (He wiped off her lipstick with a flower petal) Oh, God. I’m sorry. I don’t know why you did it. I’d do it too, if I knew how. I just don’t know how. God, I have to, I have to find a way.
8 ) “I KNEW THESE PEOPLE”. PARIS, TEXAS (1984). Dirección de Win Wenders y Guión de Sam Sheppard.
7) “HERE YOU ARE ALL EQUALLY WORTHLESS!”. FULL METAL JACKET. (1987). Dirigida por Stanley Kubrick con Guión Stanley Kubrick, Michael Herr y Gustav Hasford. Basada en la novela de Gustav Hasford.
6) “I´M AS MAD AS HELL AND AND I´M NOT GONNA TAKE THIS ANYMORE”. NETWORK. (1976). Dirigida por Sidney Lumet con Guión de Paddy Chayefsky.
I don’t have to tell you things are bad. Everybody knows things are bad. It’s a depression. Everybody’s out of work or scared of losing their job. The dollar buys a nickel’s worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there’s nobody anywhere who seems to know what to do, and there’s no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that’s the way it’s supposed to be. We know things are bad – worse than bad. They’re crazy. It’s like everything everywhere is going crazy, so we don’t go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is: ‘Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won’t say anything. Just leave us alone.’ Well, I’m not gonna leave you alone. I want you to get MAD! I don’t want you to protest. I don’t want you to riot – I don’t want you to write to your congressman, because I wouldn’t know what to tell you to write. I don’t know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you’ve got to get mad. (shouting) You’ve got to say: ‘I’m a human being, god-dammit! My life has value!’ So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell: ‘I’m as mad as hell, and I’m not gonna take this anymore!’…
Acá les va el link para que lo vean en YT http://www.youtube.com/watch?v=IVV9jEoquzE&feature=related
To be continued…