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Forces De La Nature / Rescue Dawn De Werner Herzog] Document generated on 09/27/2021 10:28 p.m. Ciné-Bulles Le cinéma d’auteur avant tout Forces de la nature Rescue Dawn de Werner Herzog Guillaume Harvey Volume 25, Number 4, Fall 2007 URI: https://id.erudit.org/iderudit/33529ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this review Harvey, G. (2007). Review of [Forces de la nature / Rescue Dawn de Werner Herzog]. Ciné-Bulles, 25(4), 52–53. Tous droits réservés © Association des cinémas parallèles du Québec, 2007 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/ AVANT-PLAN Rescue Dawn de Werner Herzog Forces de la nature GUILLAUME HARVEY escue Dawn, le premier film de ques mois avant la guerre du Vietnam. verses expériences traumatisantes, mar­ Werner Herzog réalisé dans un Lors de sa toute première mission en terri­ chant avec des soldats dans la végétation, R contexte purement hollywoodien, toire ennemi, son avion est abattu au-dessus les poings liés; la manœuvre permettait peut paraître étrange, voire superflu. En du Laos. Il survit à l'écrasement pour être d'examiner les réactions de Dieter, con­ effet, l'histoire extraordinaire de Dieter ensuite capturé et emmené dans un camp fronté à son passé. Il s'agit de la trace Dangler avait déjà été étudiée avec succès de prisonniers où il rejoint des Américains ultime des réflexions de Dieter sur son ex­ par le cinéaste allemand dans un excellent qui y sont depuis longtemps. Après plus périence puisque celui-ci est décédé quatre documentaire, Little Dieter Needs to Fly de six mois de captivité, il mènera, avec ans après le tournage de ce documentaire. (1997). Il y aurait aussi lieu de s'inquiéter d'autres prisonniers, une évasion spectacu­ du mariage potentiellement dangereux entre laire au terme de laquelle il se retrouvera Bien que le nouveau film de Herzog soit la nature sensationnelle de la présente aven­ seul avec Duane, un autre détenu. Ensem­ une fiction, Rescue Dawn possède aussi ture et la tendance fâcheuse des produc­ ble, ils tenteront d'atteindre la frontière l'attrait de l'authenticité. Tourné sur les teurs hollywoodiens à nous servir ces ré­ thaïlandaise, où ils espèrent être secourus, lieux mêmes du drame par le cinéaste et cits véridiques d'une manière héroïque et en traversant la jungle impitoyable du son directeur photo Peter Zeitlinger (qui mélodramatique. Toutefois, ceux qui ont Laos. avait aussi travaillé sur le documentaire), suivi la carrière du maître documentariste le film est à la fois truffé d'images gran­ y verront d'emblée plusieurs raisons d'ac­ Au dire de Herzog lui-même, le cinéaste dioses et fortes, comme Herzog les pour­ corder à cette œuvre l'attention qu'elle n'a jamais vraiment voulu faire un docu­ suit sans cesse, et empreint d'un réalisme mérite. D'abord parce qu'elle nous per­ mentaire sur le sujet, et l'existence de Lit­ saisissant propre aux grandes œuvres du met d'étudier la relation très particulière tle Dieter Needs to Fly n'est en fait qu'un réalisateur. Comme Fitzcarraldo, une fic­ de Herzog avec la fiction et le documen­ compromis, trompant l'attente du finance­ tion qu'il considère comme son meilleur taire, mais aussi parce que l'épopée de ment du projet de fiction. Cependant, bien documentaire, une grande partie de l'at­ Dangler s'inscrit parfaitement dans ses que Rescue Dawn soit l'aboutissement trait de Rescue Dawn se trouve dans le préoccupations, et ce, depuis ses tout pre­ final de sa démarche, la coexistence des lien qu'il entretient entre le cinéma et la miers films : la confrontation inégale entre deux œuvres, en plus de permettre la com­ réalité. Si dans le premier film Herzog l'homme passionné et déterminé et la force paraison des approches, forme un tout transportait réellement un bateau par-dessus implacable de la nature. dont les parties se complètent parfaitement. une montagne du Pérou, comme le méga­ Il y a certes des éléments redondants, mais lomane Fitzcarraldo, ici, il amène ses ac­ Rappelons d'abord les faits à la base des le documentaire réussit ce qu'aucune fic­ teurs au milieu de la jungle infernale et deux films. Jeune garçon, Dieter Dangler tion n'aurait pu faire : décrire le person­ leur fait subir plusieurs des épreuves que assiste à la destruction de son village alle­ nage dans toute son unicité. Bien que Dieter a dû traverser. Le souci de repré­ mand par les avions américains. Étonnam­ Christian Baie, qui interprète Dieter dans senter fidèlement l'expérience lors d'une ment, plutôt que d'être traumatisé par la fiction, livre une grande performance, scène transforme ce qui aurait pu être des l'image de son quartier complètement dé­ rien ne peut transmettre l'intensité de reproductions banales en véritables scènes truit, c'est le visage d'un pilote américain l'expérience vécue comme le regard et les d'horreur. On pense entre autres aux scènes frôlant sa maison à toute vitesse à bord réactions du véritable héros. Dans Little où Dieter doit manger des larves vivantes d'un avion qui, de son propre aveu, l'ins­ Dieter Needs to Fly, Herzog usait des ou s'attaquer à un serpent pour se nourrir, pirera : un jour, il sera pilote. À l'âge de reconstitutions d'événements d'une ma­ les deux scènes ayant été vécues par Baie 18 ans, il part pour l'Amérique, où il s'en­ nière particulièrement efficace. Ramenant en pleine jungle plutôt qu'en studio. Le rôle dans l'armée, pour finir pilote quel­ Dieter au Laos, il le replongeait dans di­ réalisme du résultat est aussi appuyé par 52. VOLUME 25 NUMÉRO 4 CINESL/Z.LES Christian Bale dans Rescue Dawn la justesse du jeu des acteurs. En effet, recherche de l'Eldorado mènera Aguirre à vérance (et une certaine part de chance), à Baie n'est pas le seul à nous offrir une la perdition, et dans Grizzly Man, où la atteindre son seul but : la survie. Et c'est présence mémorable. Steve Zahn, dans le folie de Timothy Treadwell le conduira à probablement dans cette réussite que rôle de Duane, le dernier compagnon d'ar­ se faire brutalement tuer par les ours qu'il réside l'attrait particulier de cette histoire. mes de Dieter, et Jeremy Davies, jouant souhaitait protéger des braconniers. Res­ Car, au fond, Dieter Dangler est probable­ un prisonnier craintif et hésitant, offrent cue Dawn nous montre la nature comme ment de tous les personnages de Herzog des interprétations sans fausses notes, étant indifférente aux aspirations humai­ celui qui se rapproche le plus de ce qu'il fuyant les stéréotypes des films de guerre nes. La jungle qui, au début du film, nous est : un fonceur qui, à maintes reprises, à hollywoodiens. Au milieu des conditions était montrée lors d'une formation ridi­ force de détermination et de courage, a de tournage extrêmement difficiles, le jeu cule sur la survie en milieu hostile comme bravé avec succès des obstacles immenses, intense de ces trois acteurs, oscillant entre étant facile à apprivoiser s'avère un en­ à la fois humains et naturels, pour attein­ la folie et le désespoir, n'est pas sans rap­ droit où l'homme mal préparé va se per­ peler les beaux jours de la collaboration dre. Que ce soit par l'image d'un village dre ses ambitions. • entre Herzog et le regretté Klaus Kinski, abandonné envahi par les lianes et les son acteur fétiche. fougères, ou par les sangsues qui se col­ Rescue Dawn lent au corps des prisonniers en fuite, la Les liens entre Rescue Dawn et les autres nature, en apparence si belle et majes­ 35 mm / coul. /126 min / 2007 / fict. / États-Unis tueuse, est décrite comme une entité dan­ films d'Herzog ne se limitent pas à ces Réal. et scén. : Werner Herzog gereuse qui avale tout élément étranger. éléments formels; il faut souligner l'im­ Image : Peter Zeitlinger portance de la relation entre les person­ Mais contrairement à Aguirre et Tread­ Mont. : Joe Bini nages et leur environnement. Comme well, qui finissent par être broyés par la Prod. : Elton Brand nature. Dieter réussit, par sa seule persé­ Dist. : Équinoxe Films dans Aguirre, la colère de Dieu, où la Int. : Christian Baie, Steve Zahn, Jeremy Daves CINHULLES VOLUME 25 NUMÉRO 4 .53 .
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