I have a new article today on the late director Fabián Bielinsky in Film International.
As I note, “the roots of [Bielinsky's film] The Aura go way back in Bielinsky’s childhood, to a screening of John Boorman’s Deliverance (1972), which so mesmerized the young cineaste that he refused to leave his seat until the management gave him a poster of the film as a souvenir. Over the years, Deliverance occupied almost the entire space in the young director’s mind, and it’s worth noting that even as he suggested after the success of Nine Queens that he might next like to try his hand at ‘a psychological thriller,’ the first draft of the script for The Aura was written in 1983, the year he directed the short film La Espera, and graduated from the national film school. The film was in every way darker and more fatalistic than Nine Queens; as he declared from the outset of the film’s production, The Aura was designed to please no one but its maker.
As Bielinsky told Jorge Letelier in the film journal Mabuse, ‘the [film’s] theme is crime, but its structure allows for more discussions because […] I decided to accept a series of brutal and dangerous breaks in the structure, because in a genre film audiences expect a certain type of structure and rhythm according to the rules of the genre in question. I opted to go on breaking those rules, so that things wouldn’t happen when they were supposed to happen.’ And this, indeed, is precisely what sets The Aura apart from more traditional crime ‘thrillers’ – it is, at its heart, a study in psychological penetration, gesturing back to the director’s early studies in psychology, and his examination of the ethos of machismo in Latin American society.
And it’s clear that as an omnivorous moviegoer, Bielinsky knew, much better than most of the people who interviewed him, that Nine Queens had been a work of precise calculation, every bit the same sleight-of-hand trick that the film itself celebrated. Make The Aura first? Not likely. Make a crowd pleaser first, designed to appeal to the widest possible audience, and then, if you were lucky and worked hard, you just might get a shot at a script that had been kicking around in your file drawers since your 24th birthday – a work so dark, so uncompromising, so willfully designed not to please, that it might as well have been Godard’s Le Petit Soldat or Les Carabiniers (both 1963), films which represented an outright assault on their respective audiences. And when an unsuspecting critic suggested that someone like David Mamet might be an influence on Bielinsky’s work, the director was quick to disabuse them of that mistaken notion.
When David Edwards ventured that Mamet might perhaps have been ‘a particular influence,’ Bielinsky good naturedly, but firmly, put Edwards in his place, saying that, ‘well, you know I was writing ideas like this before I even knew David Mamet existed! Of course, it’s flattering to be compared to him because he’s such a great scriptwriter and playwright. But, you know, Mamet didn’t invent this. There’s a whole history of con man movies before he came on the scene. I mean, I think about films like The Sting, Paper Moon, The Flim Flam Man, House of Games, the films of Fellini and other Italian films I saw when I was a teenager.’
So the roots of both Nine Queens and The Aura run deeply into not only Bielinsky’s past, but the past of cinema as a whole, and now, with the immense success of his first film, and the American remake racking up acceptable grosses, producers who were formerly unwilling to take a chance on Bielinsky’s pet project now agreed to participate. True, he had to cobble together financing from a variety of sources, and especially in the wake of Argentina’s financial collapse, everything – not just filmmaking – was a daily struggle, but at length, all was in place, and Bielinsky was allowed to embark upon the dark journey of The Aura which, though he did not know it at the time, would be his last testament as a filmmaker.
If Nine Queens presents the picture of a world becoming undone, a picture, in the words of Michael Chanan ‘of a corrupt society, where everyone is conning everyone else, a metaphor for a dangerous political situation on the verge of coming to a head, with a closing scene – as a bank puts up its shutters and depositors clamor for their money – that is nothing short of prophetic,’ then The Aura shows the aftermath of that society’s collapse, which is now no longer a joking matter, but rather a deadly serious fight for survival.
You can read the entire article by clicking here, or on the image above.
