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Hathaway-Preminger Benoît Patar Document generated on 09/28/2021 8:43 p.m. 24 images Hathaway-Preminger Benoît Patar Number 24, Spring 1985 URI: https://id.erudit.org/iderudit/21903ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Patar, B. (1985). Hathaway-Preminger. 24 images, (24), 12–16. Tous droits réservés © 24 images inc., 1985 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/ HOMMAGE HATHAWAY. PREMINGER Benoît Patar Deux grands noms qui disparaissent. Preminger était encore en activité. Hathaway, plus âgé, s'était retiré depuis près de 10 ans. Que retiendra l'histoire de ces deux réalisateurs? Jus­ qu'à présent, les manuels de cinéma n'ont pas été très tendres pour le second et n 'ont guère été plus élogieux pour le premier. LA CARRIERE D'UN GENIE naît les conditions de production et qui réjouissent le cœur et ravissent d'existence des metteurs en scène, il l'intellect. Tout y inversé, disloqué, En ce qui concerne Hathaway, je ren­ n'y a là rien d'étonnant (voir, à ce sans rien changer apparemment à la verrai le lecteur au long article que j'ai sujet, l'interview de Denys Arcand, beauté des êtres, des objets et des sen­ publié dans ces mêmes colonnes, il y a parue dans le dernier numéro). Mais timents. Qu'il soit dit une seule fois cinq ans (n° 2). Je n'ai pas changé ce qui est surprenant, à cette période que l'Afrique est un lieu de rêve et non d'avis depuis: l'œuvre du vieux maître de la carrière d'Hathaway, c'est que pas de conquête, et aussitôt le film me paraît toujours aussi nécessaire, cela se soit produit si souvent. Faut-il y prend un sens tout autre, la saga est aussi continue, et tout aussi passion­ voir une sorte de lassitude face à l'évo­ recommencée. On n'est pas si loin de nante . Néanmoins, comme j'ai pu voir lution de l'industrie cinématographi­ Crépuscule, ni de ses espérances et de et revoir certains films, je voudrais que ou un manque d'intérêt face aux ses hauts plateaux! Que dire de cette apporter ici quelques précisions sup­ scénarios plus analytiques, plus écriture d'une simplicité désarmante plémentaires. Tout d'abord, il est clair psychologiques, qui commençaient à où les plans s'ajustent au fur et à qu'à partir de 1960, le réalisateur de envahir le marché. Il est difficile d'y mesure qu'ils s'évanouissent. Et de ces Peter Ibbetson s'est senti moins con­ répondre. Une chose est sûre: les séquences où passe tout l'art graphi­ cerné par les sujets qu'on lui propo­ grands studios fermaient leur porte, et que et narratif du maître: la danse sait, et que, plus souvent qu'à son les données techniques tendaient à se démesurée de Gabriella Licudi, la tour, il a accepté de diriger des produc­ modifier. Quoi qu'il en soit, un fait scène du club de chasse où Granger se tions approximatives. Des films demeure: sur les 12 derniers films voit enfin tel que lui-même se juge. comme Seven Thieves (1960), North d'Hathaway, un seul est un chef- to Alaska (1960), The Sons of Katie d'œuvre, et deux ou trois autres tout Circus World (1964) est un excellent Elder (1965), Nevada Smith (1966), au plus sont intéressants. film malgré la minceur du sujet. Rita Five Cards Stud et Hang Up sont des Hayworth y est fascinante et John œuvres d'une rare médiocrité, qui The Last Safari (1967), reste un film su­ Wayne, d'une simplicité exemplaire. confinent, dans le cas des deux premiè­ blime. L'espèce de démystification amère Ce long métrage n'a sans doute pas res, à la dégénérescence. Bien sûr, tous du film d'aventure colonial et du chas­ l'envergure des grandes super­ les réalisateurs finissent tôt ou tard par seur au grand chapeau qui parcourt les productions, mais le milieu du cirque y faire des compromis: quand on con­ hautes herbes, est une de ces choses est défini avec une nostalgie, une 12 Diane Varsi, Chill Wills et Don Murray dans From Hell to Taxas d'Henry Hathaway finesse d'observation et une force nar­ LES ÉVIDENCES DISCUTABLES l'érotisme de Marilyn, il tient en quel­ rative qui entraîne l'adhésion. ques secondes: la séquence d'ouver­ Au niveau des certitudes «indubita­ ture où elle écarte les jambes sous les bles» et des films légendaires, quel­ draps. Le reste n'est que de la poudre True Grit, qui fut vanté par les criti­ ques rectifications s'imposent. Nia­ de perlimpimpin. ques américains, n'est certes pas gara (1953) est bien un film raté dans dépourvu de qualités. La mise en scène lequel Marilyn ne joue qu'un rôle épi- est solide, le scénario astucieux et ori­ sodique. L'univers clos du film, cette Peter Ibbetson (1935), sur ce plan, ne ginal, les acteurs (John Wayne, Kim façon de contracter le temps jusqu'à vaut guère mieux. Il est étrange et Darby) remarquablement dirigés. l'absurde, le tempérament négatif des significatif que les historiens du Cependant, on est bien loin des wes­ individus qui composent le micros- cinéma n'aient surtout retenu de la terns précédents (de From Hell to corne dans lequel ils sont circonscrits, période 35-45 que deux «grands» Texas, par exemple). L'univers ici est sont les indices d'un milieu étouffant films: Peter Ibbetson (1936) et Citizen rabougri. La nostalgie désenchantée et et d'une démarche narrative res­ Kane (1941), c'est-à-dire deux des l'humour inconséquent qui inspirent treinte. De toute évidence, l'auteur ne films les plus grandguignolesques et la personnage principal sont très diffé­ s'est pas senti à l'aise devant cette schi­ les plus factices de l'histoire de 7e art. rents, et témoignent, à l'envers, d'une zophrénie ambiante. Quelques trou­ Revoir Ibbetson est une corvée qui nouvelle époque et d'une nouvelle vailles comme l'assassinat sous les clo­ devrait décourager tous les potaches manière de vivre. Le temps des grands ches (filmé en plongée verticale), la qui se précipitent à la moindre occa­ défis est révolu. Seul reste ce regard rencontre de Jean Peters et de Joseph sion dans les ciné-clubs ou les cinéma­ sarcastique sur les choses et sur la Cotten, sont des moments trop courts thèques. Mis à part le premier quart mort. pour changer l'allure du film. Quant à d'heure bien fait, plein de rêves, de 13 Kim Charney, James Stewart, Caroll Baker, Brian Russel, Debbie Reynolds dans How the West Was Won d'Henry Hathaway, John Ford et George Marshall cachettes mystérieuses et de grands LES CHEFS-D'ŒUVRES l'amertume, au sarcasme voire au arbres où réplier son cœur, tout le film sadisme. Il fut une époque — elle n'est baigne dans une atmosphère de mysti­ C'est du côté du film noir qu'il faut pas si lointaine — où ce qui intéressait cisme qui ne peut plaire qu'aux ama­ aller chercher des confirmations. Kiss le spectateur moyen, c'était le conflit teurs de Fassbinder ou du cinéma of Death (1947), House of 92 Street ou la confrontation des cœurs, la lutte kitch. J'ai toujours eu l'impression (1945), Dark Corner (1946), Call pour la survie, et les incompatibilités que ce film n'était pas entièrement de Northside 777 (1948), Diplomatic du temps. Quoi qu'il en soit The Lives la main d'Hathaway, car rien dans Courier (1952) sont des films qui n'ont of a Bengal Lancer (1935), Sundown toute son œuvre ne trahit ce goût pro­ pas vieilli d'une ride et qui gardent une (Crépuscule) et surtout China Girl noncé pour les effets grandiloquents efficacité visuelle ahurissante. L'as­ sont sans doute les plus beaux films de ou pour la confidence surréaliste. pect découpé, tranchant, résolument leur auteur. Il y règne une atmosphère neutre du style donne au récit une d'espérance, d'optimisme, d'humi­ Bien sûr, il faudrait vérifier d'un peu force, une détermination qui dilate lité, qui permet au génie d'être lui- plus près: un auteur peut très bien l'espace. Les personnages, eux-mêmes même et de se manifester. Les héros, s'égarer une seule fois, et ne plus marqués par l'empreinte du destin qui dans ces films, ne craignent pas de recommencer! J'aurais aimé poser les requiert, les rive à la continuité de mourir, de s'effacer, de risquer leur moi-même la question au vieux maî­ leur recherche, sont d'une densité fortune et leur peau, leur sécurité et tre. N'ayant pu, en raison de circons­ humaine très forte. Ce fut un grand même leurs rêves, pour atteindre le but tances indépendantes de ma volonté, moment dans l'œuvre d'Hathaway. vers lequel ils tendent. Un but qui est répondre à la cordiale invitation qu'il Mais c'est surtout dans le film d'aven­ d'abord la conquête de soi et le service m'avait adressée, je suis contraint ture que le réalisateur de The Black des autres. Dès lors, la manière qui est d'en rester au seul niveau des hypothè­ Rose s'est illustré.
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