En Wall Street Journal entrevistan a Bernhard Schlink, el autor de la espléndida novela El lector, que ha sido llevada al cine con gran éxito gracias, evidentemente, a que tiene como protagonista a la bellísima moleskinerie y doble Globo de Oro Kate Winslet. Aquí tres preguntas referidas al libro y la película, como anticipo a su exhibición en Lima (si dios y las imprevisibles distribuidoras cinematográficas quieren):
The law students in the novel and the film project enormous moral superiority. What is the response today when your students study the actions of the World War II generation?
It's different. It has lost much of its emotional intensity because they didn't experience that generation directly. They read about it and see movies about it, but for my generation the intensity of the moral superiority came from being entangled with the guilt of the older generation and having to decide how to deal with it. Do we distance ourselves? What is our own guilt? This emotional conflict isn't there for students who today learn and study about that time.
One of the key scenes involves a moment where Hanna looks at the judge and asks what he would have done in her situation. In the movie, there is no answer. Was that a lost opportunity?
The judge was well trained and serious, a career judge who knew what it meant to reply. He wasn't secure enough, or hadn't thought deeply enough, to have an answer. That's because the answer isn't simple. Once you have entangled yourself in that kind of system, there is no solution for struggle within the system. You are stuck. She didn't understand what the job as a guard meant. But she began the job, and she did it with a lack of moral awareness.
The movie follows the book's narrative closely, with the exception of the use of flashbacks. Did you worry about the possibility of confusing the audience?
It was an attempt to anchor the story in the here and now. It was also an attempt to explain the ending that David Hare, the script writer, gave the movie. The book ends with the protagonist finally writing down the story. That couldn't have been the end of the movie. So David invented an ending where the protagonist tells the story to his daughter. This is why he gave [scenes set in] the present a presence earlier in the film. I understood that and respected it. I think moviegoers are pretty movie-smart and won't get confused.
Vía The Literary Saloon