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O monumental ciclo Bronwyn (Juan Eduardo Cirlot, 1967-1972) caiu nas minhas maos quando andava baralhando a possibilidade de fazer um estudo cinematográfico sobre Rose Hobart (Joseph Cornell, 1936), que ia consistir na recuperaçom do East of Borneo (George Melford, 1931) original mas deixando de lado os planos da atriz já reutilizados por Cornell: a ganga como mercadoria. A medida que me adentrava na poesia de Cirlot, dedicada à personage de Bronwyn (interpretada por Rosemary Forsyth) en The War Lord (Franklin Schaffner, 1965), foi tomando forma a idea de fazer o meu particular “Rose Hobart” a partir da película de Schaffner. As diferenças com a obra de Cornell som grandes: a fascinaçom neste caso nom é pola atriz, senom pola sua personage; e o arroubamento nom parte de mim senom que vem mediado polo poeta Cirlot. O meu Bronwyn é menos estudo cinematográfico da obra de Schaffner que ilustraçom/interpretaçom do livro do poeta.
Bronwyn inclui todos os planos e todas as (escassas) intervençons vocais da personage Bronwyn. The War Lord, baseada na peça The Lovers (Leslie Stevens, 1956), mitiga a personage feminina para centrar-se, já desde o título, em Chrysagon, o senhor feudal. A minha Bronwyn pretende restituir a sua presença. Algumhas sequências estám acompanhadas polo Prometeu (1910) de Aleksandr Scriabin, poema sinfónico que tivo um impacto na vida de Cirlot comparável ao de The War Lord.
Cirlot nom só escreveu o extenso ciclo Bronwyn senóm que explicou e analisou em detalhe a simbologia proposta pola película e recolhida nos seus poemários. Se Bronwyn, que renace das águas, é a inversom de Ofélia (nas adaptaçons de Grigori Kozintsev, 1964, e Laurence Olivier, 1948), Chrysagon é o ánti-Hamlet, que nom renuncia ao seu amor mas perde a vida por el.
O seu amor? As imagens de Schaffner nom deixam dúvida: duas cenas demostram que o autêntico amor na película é o que sente o escudeiro Bors polo seu senhor. Esta revelaçom, que num princípio me negava a registar, cegado como estava polo rosto de Bronwyn, acabou encontrando acobilho no meu estudo, apesar de ir em contra do propósito inicial de eliminar todos os planos que nom contassem com a presença de Bronwyn, pola força do seu significado.
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The monumental Bronwyn cycle (Juan Eduardo Cirlot, 1967-1972) fell into my hands when I was mulling over the possibility of making a film study on Rose Hobart (Joseph Cornell, 1936), which would consist of the retrieval of the original East of Borneo (George Melford, 1931) but leaving aside the shots of the actor already reused by Cornell — gangue as commodity. As I delved into Cirlot’s poetry, devoted to the character of Bronwyn (played by Rosemary Forsyth) in The War Lord (Franklin Schaffner, 1965), the idea of making my own “Rose Hobart” from Schaffner’s film took shape. The differences with Cornell’s work are great: the fascination in this case is not for the actor, but for her character; and it is not my rapture I am trying to express, but Cirlot’s. My Bronwyn is less a study of Schaffner’s film than an illustration of the poet’s book.
Bronwyn collects all the shots and all the scarce dialogues of the character Bronwyn. The War Lord, based on the play The Lovers (Leslie Stevens, 1956), simplifies the female character in order to focus, right from its title, on the character of Chrysagon, the warlord. My Bronwyn intends to restore her presence. Scriabin’s Prometheus (1910), whose impact on the poet’s life is comparable to that of The War Lord, accompanies some scenes.
Cirlot not only wrote the extensive Bronwyn cycle, but also explained and analyzed in detail the symbology proposed by the film and inscribed in his poems. If Bronwyn, who is reborn from the waters, is the inversion of Ophelia (in Grigori Kozintsev’s, 1964, and Laurence Olivier’s, 1948, adaptations), Chrysagon is the anti-Hamlet, who does not renounce his love but gives his life for it.
His love? Schaffner’s images leave no room for doubt: two scenes demonstrate that true love is that which the squire Bors feels for his lord. This revelation, which at first I refused to register, blinded as I was by Bronwyn’s face, found favour in my study, despite going against the initial purpose of eliminating all the Bronwyn-less shots, because of its powerfulness.
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