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\n\nEl ciclo más veterano de la Filmoteca Vasca cumple una década desde que ésta comenzara su programación estable al concluir su traslado al edificio de Tabakalera. En colaboración con los distintos festivales vascos de jazz, durante los veranos nuestras pantallas se han llenado de una programación con películas que habían de poseer alguna o varias de las siguientes características: bandas sonoras de jazz, estar dedicadas a grandes nombres de la historia del jazz o haberse dejado contagiar por el jazz en su lenguaje cinematográfico.
\n\nPara celebrar este bello aniversario hemos previsto un ciclo corto pero extraordinariamente rico, que nos lleva a lo mejor de la creación cinematográfica y jazzística estadounidense, a los orígenes. Grandes nombres del cine que se adentran en un mundo musical que admiran y conocen bien. The Glenn Miller Story -Música y lágrimas- (Anthony Mann, 1954) es un biopic donde la mano sabia de Mann vuelve a dirigir al gran James Stewart para dar vida a Glenn Miller, un icono del jazz y uno de los nombres que inevitablemente nos vienen a la cabeza si pensamos en swing y big bands. Otro coloso del jazz, y particularmente de su revolución bebop, es Charlie Parker, cuya trayectoria fue llevada a la pantalla por Clint Eastwood (Bird, 1988), un cineasta que es a su vez músico y erudito de la historia de este tipo de música. Aquí realizó, en palabras del crítico Quim Casas, un “ecuánime, emocionante y duro retrato, atento sin moralismos a la vida privada de Parker, sus adicciones; pero por supuesto también a su espléndida creación musical, giras, grabaciones y papel revolucionario”.
\n\nAl maestro Altman siempre le interesó el jazz y es Kansas City (1996) la película en la que mejor se evidenció esto. La recreación del Hey-Hey Club le permitió hablar de mafias, de racismo e inundar coherentemente todo ello del jazz de los años 30. Y, entre otros, un detalle no menor: el gran Joshua Redman interpreta al mítico Lester Young. Fernando Trueba ha sido un habitual, un amigo de este ciclo. Fue él quien nos hizo descubrir The Connection -La conexión- (1961), de la gran Shirley Clarke, y nos dio la clave para su interpretación: la película no va de jazz, es jazz, su lenguaje cinematográfico se dejó contagiar de la música de la que trataba.
\n\nPara terminar, una sesión especial, extraordinaria. Sabemos que no es jazz, es rock, aunque no escaseen las conexiones: The Last Waltz -El último vals- (Martin Scorsese, 1978). Tras diez años de cine musical, nos tomamos la licencia de hacer un guiño festivo a una de las películas más importantes de este género, dirigida por otro gigante del cine americano. Cuando abandonen la sala tras verla sentirán que levitan, que se han quitado un peso de encima.
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