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At first I thought that an esmarfon might be a McGuffin.

But it turned out be a smartphone, a cellphone with more computer capacity than that of an ordinary cellphone.

Do you, dear reader, know what a McGuffin is?

My friend John Williams Wilkinson was the first to explain it to me, thus: Two men are in a train compartment.

One asks: "Can you tell me what is in that suitcase on the rack over your head?" And the other answers: "Oh, that's a McGuffin." The first wants to know what a McGuffin is, and the other explains: "A.

And the other answers, "Well, then, that's no McGuffin.".

The paradigm of the McGuffin is in The Maltese Falcon, perhaps the most garrulous movie in the history of cinema.

The plot of John Huston's film is built around the energetic and talkative search for the gold figurine of a falcon, which was the tribute the Knights of Malta paid to the Spanish king in return for their island.

But at the end, the coveted falcon, for which so many words have been uttered and bullets fired, is a worthless imitation made of lead, a mere element of suspense that has kept the story going.

We meet McGuffins on every street corner of life.

In Quentin Tarantino's Pulp Fiction, for example, there is a portentous suitcase, whose contents we never see.

And what about the mysterious package in the Coen brothers' Barton Fink?

Or the little box that someone shows to Catherine Deneuve in the brothel in Buuel's Belle de Jour, the contents of which we never come to know?

And is not the Civil War the package, the suitcase, the deadly little box in the career of more than one Spanish writer?

In Quentin Tarantino's Pulp Fiction, for example, there is a portentous suitcase.

Hitchcock was the first to use the term McGuffin.

They appear in many of his films.

In Psycho, for example, Janet Leigh's initial journey turns out to be fairly irrelevant to the story, but it does perform the function of keeping us in a state of permanent suspense.

In the same line are numerous episodes of The Simpsons, where the prelude has little to do with what happens later.

In a story about jewel thieves it's usually a necklace; in a spy story, the documents said Hitchcock.

And this reminds me that in The Aspern Parers, by Henry James, the documents of the dead writer - which we guess that the young investigator will never find - are a perfect McGuffin.

The first McGuffin of my life, I think, I detected in Pietro Germi's Un maledetto imbroglio, adapted from a novel by Carlo Emilio Gadda.

In it, inspector Ingravallo, pumped up on espresso coffees and lost in the labyrinth of his intricate investigation, speaks now and then on the phone with his long-suffering wife, whom we never see.
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