In "Neruda" Larrain keeps away from clichés and manages to create an exciting movie that puts the Chilean artist at a specific moment in world history and displays it as the poet of the people, of servile intellectuals, workers on strike and fervent prostitutes. The film was presented at the Quinzane des Realisateurs (the Fortnight), a prestigious section parallel to the Cannes Film Festival, where Larrain, 39, participated in 2012 with "No", the last part of his trilogy about the dictatorship of Pinochet.
I recently spoke with Larraín on the autobiography, film and why "Neruda" (much better than many of the films in the official competition at Cannes) was not part of the main selection. Here are some excerpts of our conversation.
You did not want to do a biography literally, why?
I think the biopics are very dangerous and have enjoyed very few. Believe me, I read four biographies; I read his autobiography, a beautiful book. I talked to people who knew him, I read hundreds of essays of his life and made a movie called "Neruda".
I can tell you at this very moment I have no idea who he was because Neruda is elusive; it is impossible to pigeonhole. You can make 100 movies and you could never achieve. And when one understands that earns enormous freedom. So we say that this is a "Neruda" movie because for us, in my country and in my language, Neruda was a man who created a microcosm of an extreme and profound complexity.
Neruda was an extraordinary chef and wine expert was expert literature, expert detective novel. It was a great collector. He had three houses, all turned into museums, and are among the most beautiful in the world.
His poetry is very diverse. He wrote on many subjects in different ways, so it is extremely complex. That's why we opted to focus on the poems full of rage and fury, mix politics and ideology with poetry, not those that have been translated and are known throughout the world, his love poems. We wanted to recreate an absurdity, a place to escape to reality.
Could you tell us a little about your main actor, Luis Gnecco? The resemblance is striking. Did you use dentures?
Only a wig; he is bald. It's funny because I worked with him many times; also it appears in "No". Gnecco is a man who has struggled with weight all my life. Finally he manages to be thin and I look and I say, "Do you want to make this movie," he says, "Sure, brother." But I say, "You have to climb 25 kilos", which is a lot. He looked at me and said, "Paul, I just do this, I took me a year." To which I replied, "I'm sorry, man, but Neruda was a guy who enjoyed life, you have to." And he did it and back down (in weight), which is fantastic. It was important. There can not be a disservice Neruda.
The film seemed somewhat purplish, as when old movies have a pink tint. Was that your intention?
A bit. We prefer to say "purple" instead of purple. red and blue jacks and you filter. And then in color correction we turn it into a verb: "I liléalo". "Le lilac missing". "Ah, regrésate!". We did not want to go too, so we look for the right balance to reach these colors.
Do you think you ever do a movie about Salvador Allende?
For now I do not think. I thought of making a film about Pinochet, but do not think ever. The problem is that if you make a film about a character like that, you have to generate a certain empathy, compassion, respect, and I could never do such a thing. I can not. I feel much anger and hatred.
In 2012 you mentioned that they had received some criticism because your parents are right and your father is a senator. Your father is still senator?
Yes. What happens when you make films like "No", for example, is that people expect a movie that reaches an international audience (and tells the story for those who do not know) should reflect the perception that they have. And sometimes the film does not do as they wished and that bothers them. I remember there was someone who said it was ideological rubbish. I felt great. The film is not here to do that. I'm not here to tell people what to think. I do not want to change anything. I do not even want to take responsibility. I do not believe in responsibility. I believe in respect, that is not the same.
And then why your movie was not in the official competition in Cannes?
(Larrain looks at me and smiles without dissimulation). Sure ... what happens in private should be kept private. What is very annoying, but not in competition, is to answer this question in 15 interviews. We make movies, not selected. We spoke to the enforcement team in Cannes and do not reach an agreement. And Edouard Waintrop, La Fortnight, loved the movie. I've been there three times and it's like everything in life, you go where you feel loved and protected.
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