Maybe one of the most controversial films of the last film year 2019 was 'Hellboy', the new adaptation of the fantastic comic by Mike Mignola, directed by a craftsman of the stature of Neil Marshall and starring a David Harbor in his sauce giving life to the red paranormal investigator.
Beyond the incomprehensible censored version that was released in Spanish territory, despite its multiple virtues, its violence and a delicious tone, badass and self-conscious, the tape did not finish penetrating among the public and hinted at a certain chaos in its production phase that prevented him from fully unfolding his potential.
Now, almost a year after his arrival in theaters, Harbor has explained in a Q&A made on his Instagram account his point of view about 'Hellboy', dropping that, more or less, it was a chronicle of an announced death.
"I think it failed before we started shooting, because I think people didn't want us to do the movie. Guillermo del Toro and Ron Perlman created something iconic that we thought could be reinvented, and then the internet was like, 'We don't want you to touch this. '.
And then we made a movie that I think is fun. I think he has his problems, but it was a fun movie. People were very against it, and it is their right, but I learned the lesson in many different ways. "
But the actor does not carry all the weight on the shoulders of a fandom that remembered with special and deserved affection the two contributions of Del Toro to the Mignola universe, also subtly points to the study machinery and creative differences.
"We did our best, but there are too many voices involved in these things, and they won't always work. I did what I could and I'm proud of it, but basically I'm not in control of a lot of those things."
As far as I'm concerned, I will always defend the 2019 'Hellboy' as a real joy —Always in its full version kaffir— destined to be remembered in the future as one of those battered cult movies from the start. At least he knew how to contribute some personality and risk against the prevailing whiteness in the blockbuster current.