Homework / test English to Spanish Art/Literary Cinema, Film, TV, Drama cine

mi traducción:No puede estar más allá de las valoraciones morales de Robert Altman en Mash, o Nashville y sus otras películas.

This is where Cassavetes decisively parted ways with contemporaries like Robert Altman and Mike Nichols. They morally, intellectually, and socially “placed” their characters in ways he didn’t. Even as Faces views Richard, Freddie, McCarthy, and the others as “dinosaurs” fully deserving the extinction they are bringing on themselves, it not only shows compassion for the pain they are in, but actually seems to enjoy their madcap antics. The comedy of their buffoonish cavorting disarms moral judgment. To adapt Blake’s aphorism, their energy is too delightful for us to dislike them. They are too entertaining to hate. And beyond that, their positions and relationships with each other are too changeable for the viewer to lock into a fixed relationship with them; characters won’t stand still long enough for viewers to bring them into focus morally or psychologically. We no sooner decide Freddie is an oaf than he redeems himself with a sensitive or perceptive comment; we no sooner categorize McCarthy as heartless than he surprises us with a self-critical observation. The circulatory method of Cassavetes’ presentation defeats judgments. Scenes move the viewer through so many different personal perspectives on and emotional relationships to experience that it is all we can do to keep up with the shifts. No single perspective or relationship is allowed to become final or definitive. Cassavetes was, in fact, so non-judgmental that, in both this film and Husbands, his open-mindedness actually offended many viewers. They cried out for characters’ misbehavior to be condemned when it was not. In both Faces and Husbands, they didn’t want to laugh at, enjoy, or be entertained by, such “awful” people. But that is precisely what Cassavetes wanted them to do. He refused to simplify experience or character by glossing it morally. Nothing could be further from Robert Altman’s judgmental stances in Mash, Nashville, and his other films.