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Les Remakes Américains De Films Français Olivier Lefébure Du Bus Document generated on 10/02/2021 8:35 p.m. Séquences La revue de cinéma Les remakes américains de films français Olivier Lefébure du Bus Number 170, March 1994 URI: https://id.erudit.org/iderudit/49931ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Lefébure du Bus, O. (1994). Review of [Les remakes américains de films français]. Séquences, (170), 52–54. Tous droits réservés © La revue Séquences Inc., 1994 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ LES REMAKES AMERICAINS DE FILMS FRANÇAIS Quel point commun y a-t-il réservoir d'histoires inédites (pour et les journalistes ont immanqua­ entre Breathless de Jim McBride, le public américain) ayant déjà fait blement porté plus d'intérêt à ce Sommersby de Jon Amiel et leurs preuves (auprès du public film. S'attaquer à un chef-d'oeuvre Intersection de Mark Rydell? Outre français). Les risques d'échec est une entreprise périlleuse et tout le fait qu'ils sont tous interprétés financier sont donc logiquement le monde veut savoir comment le par Richard Gere, ce sont tous les moins importants. réalisateur va s'en sortir. On trois des remakes de films français. L'inflation des budgets et la spécule, on compare, on s'indigne frilosité des producteurs, qui ou on rit; qu'importe! Les gens ET POURQUOI PAS UN REMAKE? hésitent maintenant à investir des parlent du film avant qu'il ne soit capitaux dans une histoire originale sur les écrans. De l'attente naîtra Hasard de la production? Non. sans savoir si elle va être appréciée l'envie et le public se précipitera Depuis une quinzaine d'années, les du public, sont à la base de cette dans les salles pour voir le résultat grands studios hollywoodiens ont reprise de mode. Est-il raisonnable final. Down and Out in Beverly relancé la mode du remake et à notre époque d'hypothéquer 20 Hills est loin de valoir l'original, parmi les cinematographies ou 30 millions de dollars sur une mais reste malgré tout une étrangères non anglophones, c'est nouvelle idée qui peut-être laissera plaisante critique d'une certaine le cinéma français qui attire le plus tout le monde indifférent? Le Amérique. Si Renoir eut de la les producteurs américains. Ne remake comme la sequel est par chance avec les remakes de ses nous leurrons pas sur ce regain conséquent une «bonne» solution films (Scarlet Street de Fritz Lang, d'intérêt des Majors pour les films de rechange. Puisque les Français remake de La Chienne, n'est pas français. La cinéphilie et l'amour ont applaudi Un éléphant, ça sans qualité), tous les réalisateurs de la France n'y sont pour rien. Le trompe énormément d'Yves français ne peuvent en dire autant. remake est une pratique commer­ Robert, pourquoi les Américains ne Truffaut fait partie des malheureux. ciale qui consiste à refaire un film feraient-ils pas de même avec son The Man Who Loved Women est qui a eu du succès en partant du remake, The Woman in Red, de et une ridicule reprise de L'Homme postulat que, s'il a rencontré une avec Gene Wilder dans le rôle créé qui aimait les femmes. Remplacer fois son public, il est fort probable par Jean Rochefort? Charles Denner par Burt Reynolds qu'il le rencontre une deuxième est absurde car ce qui fait la force fois. L'argent attire l'argent. OUI, MAIS QUEL FILM... du film original, c'est que le Que le choix des producteurs personnage principal n'est pas un américains se soit porté sur la Deux types de films sont bel homme. Blake Edwards est France et non pas l'Allemagne ou susceptibles d'intéresser les complètement passé à côté de son l'Italie n'a rien de surprenant. Quoi producteurs américains et de film, se contentant de «servir la qu'on en dise, le cinéma français donner naissance à des remakes: soupe» à la star américaine sex- est encore un des plus originaux au les classiques et les grands succès symbol du début des années 80. Le monde. Il est vivant, créatif. Les commerciaux. film référence de la Nouvelle Vague, À bout de souffle de scénarios à acheter sont nombreux Même si à l'époque de leur Godard fut, quant à lui, repris par (tout producteur ou scénariste sortie, ils furent des échecs, les )im McBride. Intelligemment, il français rêve de vendre ses droits classiques sont toujours intéressants intervertit les rôles, l'Américaine aux States) et peu chers (pour les à retourner car ils bénéficient d'une devenant une Française et le mêmes raisons). Enfin, les intrigues aura publicitaire formidable. Français un Américain. Hélas! alors sont facilement adaptables, car les Lorsque Paul Mazursky a entrepris que le film de Godard bousculait sensibilités sont familières. La de faire un remake de Boudu sauvé joyeusement les conventions France est donc un formidable des eaux de Jean Renoir, la presse 52 Séquences cinématographiques, celui de américaine. Un désaccord avec les 1988. Comme Veber, Sluizer a eu FICHE TECHNIQUE McBride n'est qu'une honnête producteurs de chez Touchstone le privilège de pouvoir tourner lui- Tous les films suivants sauf * sont production tournée pour mettre en Pictures, à la suite d'une réécriture même le remake de son film. La disponibles sur vidéo ou laser: valeur Richard Gere. Aucun de ces du scénario, a contrecarré ses porte des studios hollywoodiens lui remakes n'égale l'original et entre projets et c'est Steve Miner qui est désormais grande ouverte et s'il LES CLASSIQUES: Le Salaire de la peur de Clouzot et hérita du film. Gérard Depardieu, accepte comme son compatriote Pépé le Moko (1937) Sorcerer de Friedkin, il est phénomène rarissime, a repris son Paul Verhoeven de vendre son (J.Duvivier) (J.Gabin) (V.ang.) préférable de louer la cassette du rôle créé en 1991. En effet, la règle âme, il est en droit de rêver à une Algiers (1938) premier, à moins de rechercher (et le public) veut que les acteurs place au soleil. (J.Cromwell) (C.Boyer) (V.ang.) expressément la griffe Friedkin et soient du cru. Ainsi dans Oscar de Même si presque tous les Casbah (1948) (J.Berry) (T.Martin) (V.ang.) d'être sensible à la musique de John Landis, c'est Sylvester Stallone remakes ne sont que de pâles Tangerine Dream. qui reprend le rôle de Louis de copies à côté des originaux, je ne La Chienne (1931) Funès! L'idée était stupide et le film veux pas conclure par une note (J.Renoir) (M.Simon) (V.O.F.) LE RIRE DE L'ARGENT OU l'est autant. Mais le cas de pessimiste. Bien sûr, refaire Pépé le Scarlet Street (1945) (F.Lang) (E.G.Robinson) (V.ang.) L'ARGENT DU RIRE? Depardieu est unique. C'est Moko (avec Jean Gabin) était actuellement le seul comédien absurde, surtout avec Charles Le Corbeau (1943) Tous les remakes sont donc à la français a être connu en Amérique Boyer comme substitut, mais grâce (H.G.CIouzot) (P.Fresnay) (V.ang.) base des succès: critiques (Le et le seul sur qui des producteurs à la mode des remakes, des films The 13th Letter (1951) (O.Preminger) (C.Boyer) (V.ang.) Salaire de la peur de Clouzot a sont prêts à investir de l'argent. Pari comme Pépé le Moko de Duvivier, audacieux, il reste encore à voir si reçu le Grand Prix à Cannes en Le Corbeau de Clouzot ou Boudu Le Salaire de la peur (Titre US: The 1953) ou commerciaux. Constante Wages of Fear) (1952) des années 80, les films français (H.G.CIouzot) (Y.Montant) (V.O.F. et récents qui ont donné des remakes V.ang.) Sorcerer (1977) sont en majorité des comédies, et (W.Friedkin) (R.Scheider) (V.ang.) le champion toute catégorie des auteurs français le plus adapté (ou À bout de souffle (Titre US: Breeathlessa , pillé pour les opposants) est Francis (1959) (J.L.Godard) (J.P.Belmondo, J.Seberg.. .) Veber. (V.O.F. et V.ang.) L'Emmerdeur écrit par Veber et Breathless (1983) réalisé par Molinaro a été refait par (J.McBride) (R.Gere, V.Kaprisky) Billy Wilder sous le titre de Buddy, (V.F. et V.ang.) Buddy, lack Lemmon et Walter L'Homme qui aimait les femmes (Titre Matthau ont pour l'occasion US: The Man Who Loved Women) reformé leur duo comique mais pas (1977) avec le même bonheur que Jacques (F.Truffaut) (C.Denner) Les Fugitifs Brel et Lino Ventura. Si Lemmon (V.O.F. et V.ang.) The Man Who Loved Women (1983) s'en sort bien en déprimé X^R,\£wf^ (B.Edwards) (B.Reynolds) suicidaire, Matthau n'est pas T (V.F. et V.ang.) crédible en tueur à gages implacable. Boudu sauvé des eaux (Titre US: mBÊm Boudu Saved From Drowning) (1932) Pierre Richard, l'acteur fétiche (J.Renoir) (M.Simon) (V.O.F. et V.ang.) | 1 , ... f de Veber, a vu ses rôles repris tour fa Down and Out in Beverly Hills (1986) à tour par Richard Pryor dans The (P.Mazursky) (N.Nolte) (V.F. et V.ang.) Toy, Tom Hanks dans The Man A i Cousin, cousine (1975) with One Red Shoe et Martin Short (J.C.Tacchella) (V.O.F.
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