Elementos

"Elementos", de Pixar: un mensaje demasiado... elemental

Esta historia de amor entre opuestos, en un mundo en el que los cuatro elementos esenciales de la vida en el planeta (agua, fuego, aire y tierra) adquieren características antropomórficas, se vuelve tautológica. 

Como ocurre con esa figura retórica en la que la carreta es colocada delante del caballo, invirtiendo no solo el orden lógico de los componentes sino subvirtiendo también su disposición práctica, a veces las películas tropiezan con sus propias buenas intenciones, al atribuirle a su necesidad de dar un mensaje un peso dramático que se impone incluso a la acción. Esto viene ocurriendo con algunas de las películas de Pixar, que durante unas dos décadas supieron ser un faro dentro del cine de animación, desde el estreno de Toy Story en 1995. Una característica que el estreno de Elementos viene a refrendar y no parece casual que su director sea Peter Sohn, quien también estuvo al frente de Un gran dinosaurio (2015), primer trabajo abiertamente fallido del estudio del veladorcito saltarín.

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No es que Elementos se encuentre al fondo de la lista de las películas de Pixar, porque a pesar de su abierta intención “misionera” también presenta algunas buenas ideas, gags bien resueltos y su estructura es más o menos sólida. Sin embargo, no son pocos los momentos en los que la evidencia del bendito mensaje se vuelve tan ostensible que parece salirse de la pantalla, para ubicarse por delante de la película misma. Ya la idea de contar una historia de amor entre opuestos, en un mundo en el que los cuatro elementos esenciales de la vida en el planeta (agua, fuego, aire y tierra) adquieren características antropomórficas, puede representar una luz de alerta.

En especial si el romance imposible surge entre el más obvio de los pares –una chica de fuego y un chico de agua—, que atenta contra el único tabú de este universo: los elementos no se mezclan. A partir de esa idea es fácil imaginar a dónde va la cosa, pero igual Elementos necesita volverla más clara todavía. Porque en la ciudad -cuya morfología es similar a la de Nueva York- los hombres y mujeres de fuego son inmigrantes y reciben el repudio de los otros tres grupos. El peligro potencial que genera su presencia es la justificación de tal recelo. Pero además, esa doble condición de extranjeros y de peligrosos los obliga a habitar un barrio específico, casi un ghetto, convirtiéndose además en la clase baja de la ciudad. Nada que La dama y el vagabundo (1955) no haya hecho primero.

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Elementos es una película para chicos en tiempos "wokes", donde el respeto, la aceptación e incluso el deseo por lo diferente se imponen. Casi un manifiesto en favor del mestizaje y sus buenas intenciones son claras. El problema es que a veces tanta claridad enceguece, para hacer que la historia acabe volviéndose predecible y axiomática. Tampoco resulta un buen síntoma que el guión necesite echar mano al recurso apocalíptico, que se ha vuelto el lugar común de un cine dominado por superhéroes y robots gigantes. Si una obra de Pixar necesita de una catástrofe para mantener al público conforme, entonces lo claro es que algo anda mal.