Tendances Du Cinéma Américain Robert-Claude Bérubé

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Tendances Du Cinéma Américain Robert-Claude Bérubé Document généré le 26 sept. 2021 15:10 Séquences La revue de cinéma Tendances du cinéma américain Robert-Claude Bérubé Numéro 26, octobre 1961 URI : https://id.erudit.org/iderudit/52053ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Bérubé, R.-C. (1961). Tendances du cinéma américain. Séquences, (26), 6–7. Tous droits réservés © La revue Séquences Inc., 1961 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ TENDANCES DU CINÉMA AMÉRICAIN Une transformation profonde Le premier à se faire vraiment ture sociale ambiante. Citizen s'est opérée ces dernières années une place au soleil comme produc­ Kane, The Grapes of Wrath, Greed dans le cinéma américain. Il fut teur indépendant fut Stanley Kra­ sont des exceptions peut-être, mais un temps où la structure indus­ mer. Un choix habile de sujets o- marquantes. trielle d'Hollywood dominait le riginaux et de réalisateurs à la monde du cinéma. Des grands stu­ fois expérimentés et novateurs D'autres films, moins virulents dios sortaient régulièrement, bien pour les mettre en valeur firent de mais quand même attentifs à la alignés, étiquetés et enveloppés, lui le bright young man de la pre­ condition sociale de l'Américain comme d'une fabrique de saucis­ mière partie de la décade. D'autres moyen sont à signaler : Mr Smith ses, dix longs métrages au moins tentèrent l'aventure, dont l'ac­ goes to Washington, Mr Deeds par semaine. Ces films à peu près teur Burt Lancaster qui mit sur goes to town, The Best Years or interchangeables, conçus selon des pied avec deux associés une firme our Life, etc. critères à"entertainment, venaient qui fut responsable de nombreux Les années '50 avec le vent d'in­ alimenter des chaînes de salles re­ films de qualité. Aujourd'hui, la dépendance et de liberté qu'elles liées financièrement aux grandes production indépendante égale faisaient souffler sur les studios compagnies. Des règles rigides do­ presque si elle ne la dépasse la pro­ donnèrent l'essor à un certain nom­ minaient ce processus et l'indépen­ duction traditionnelle. Les réalisa­ bre de films sociaux. Ils constituè­ dance était plutôt mal vue et rapi­ teurs de valeur qui ont goûté la li­ rent la majeure partie de la pro­ dement matée ou brisée ; Orson berté que leur apportent ces nou­ duction de Kramer qui semble re­ Welles est là pour en témoigner. veaux cadres de travail les ont a- doptés presqu'exclusivement. La chercher les sujets à controverse ; compagnie United Artists est de­ depuis Home of the Brave jusqu'à Dix années décisives venue le canal de distribution ha­ Judgment at Nuremberg, il semble bituel de ces producteurs et peut avoir pris pour but de faire réflé­ ainsi s'enorgueillir chaque année chir ses contemporains sur des Dix ans ont suffi pour renverser de mettre sur ses listes les noms thèmes d'actualité ; cependant son la situation, pour ébranler la do­ les plus réputés et les films aux talent est plus souvent celui d'un mination des grandes entreprises. sujets les plus originaux. pamphlétaire que d'un artiste et Parmi les événements qui ont con­ cela nuit quelque peu à la force tribué au changement il faut de ses arguments. compter la popularité grandissante Une tendance sociale de la télévision qui n'a pas peu De même la firme Hecht-Hill- contribué à bouleverser les habi­ Lancaster fut à l'origine de tout un tudes de la masse en matière de La critique sociale fait partie mouvement d'études sociales et distraction. II y eut aussi une dé­ de la tradition américaine ; elle d'auto-critique vers le milieu de cision gouvernementale brisant les fut à l'origine du pays et continue la décade. Ce qui donna le branle monopoles qui réunissaient sous d'exercer une pression salutaire ce fut le succès de Marty ; d'abord une même bannière et une même sur son administration. L'école so­ présenté à la télévision ce sujet direction des réseaux de salles et ciologique américaine a eu une in­ porté à l'écran par Delbert Mann, des studios de production. Désor­ fluence sur plusieurs aspects de la un réalisateur de T.V. dont c'était mais le producteur n'était pas as­ culture aux Etats-Unis et il serait le premier film, remporta un grand suré d'un débouché automatique bien surprenant que le cinéma n'en succès et l'estime générale. Il n'en pour tous ses films, même ceux de ait pas été touché. Même aux temps fallait pas plus pour que scénaris­ qualité médiocre. Enfin, il faut de la dictature monolithique des tes et techniciens de télévision noter la part croissante qu'ont pris grands studios, il s'est trouvé des jouissent d'une faveur nouvelle au­ les producteurs indépendants dans artistes pour présenter à la face du près des cinéastes. C'est ainsi que le ciel d'Hollywood. monde certains défauts de la struc­ Sidney Lumet, Robert Mulligan, SEQUENCES John Frankenheimer, Jack Garfein, Martin Ritt et quelques autres eu­ rent la possibilité de tenter leur chance au grand écran. Chacun choisit pour ses débuts un sujet social : qui l'administration de la justice, qui les problèmes de la jeunesse, qui la discrimination ra­ ciale ou les conflits ouvriers. D'autres réalisateurs, dont le ta­ lent d'auteur de films s'était révé­ lé ou confirmé au début des an­ nées '50, s'affirmaient de plus en plus dans des films incisifs comme Attack et The Big Knife (Robert Un film de l'école de New York Aldrich), Rebel without a Cause, Shadows de John Cassavetes Bitter Victory (Nicholas Ray), On the Waterfront, East of Eden, Wild River (Elia Kazan), From régulière dans les salles, un menu vaillent surtout sur la côte ouest, Here to Eternity, A Hatful of Rain faisandé de science-fiction, d'hor­ les frères Dennis et Terry Sanders. (Fred Zinneman). reur, de jeunesse rebelle et de . Leurs films s'appellent: The Lit.'h Un cas à signaler est celui de Jerry Lewis. Fugitive, The Quiet One, On the Dore Schary. Chef de la produc­ Les talents les plus prometteurs Bowery, Corne back Africa, Jazz tion dans l'une des plus grande même se sont laissés prendre aux on a Summer's Day, The Sand compagnies, la Metro-Goldwyn- appâts de la super-production : Castle, The Connection, Shadows, Mayer, Schary consacra une partie Ray avec King of Kings, Aldrich Crime and Punishment U.S.A., de cette production à l'élaboration avec Sodom and Gomorrh, Ku­ Weddings and Babies. de films à sujets sociaux dont peu brick avec Spartacus. Ce sont les vrais indépendants remportèrent assez de succès fi­ ceux qui avec une caméra parcou nancier pour justifier sa politique Une nouvelle vague rent les rues, captent les foules auprès des actionnaires qui lui re­ font leurs films dans un esprit d'à tirèrent son poste. Ce fut l'époque De temps à autre la tradition de mitié avec leurs interprètes, im des films de Richard Brooks : fidélité à la réalité sociale semble provisent souvent, traquent la vé Blackboard Jungle, Something of devoir être reprise. Frankenheimer rite dans ses recoins les plus re Value auxquels s'ajoutèrent d'au­ avec The Young Savages, Irving culés et donnent des oeuvres sin tres essais tels Edge of the City, Kershner avec The Hoodlum cères si non fignolées. On les a Trial, Slander, Ransom. Priest, Irving Lerner avec Sluds comparés aux réalisateurs de la Cette période heureuse que l'on Lonigan ont fait naître périodique­ nouvelle vague française mais ils peut situer de 1954 à 1957, épo­ ment de nouveaux espoirs. semblent s'apparenter plutôt au que de floraison exceptionnelle, Mais il semble plutôt que l'ave­ mouvement du « Free Cinema » n'eut pas de suites pratiques à cau­ nir repose sur l'orientation prise en Angleterre. se de l'échec financier de la plu­ par des jeunes cinéastes qui avec Cette école de New-York fera- part de ces films. La production des moyens de fortune réalisent t-elle long feu, l'avenir le dira d'aujourd'hui est à double cou­ tant bien que mal des oeuvres de mais dès à présent elle nous est rant : pour contrebalancer Fin- valeur. Ce mouvement a son centre sympathique par sa recherche, flence du petit écran on fait la su­ à New York et ses représentants sans compromission, d'une vérité renchère du spectacle sur grand portent les noms de Lionel Rogo- cinématographique prise à même écran destiné au plus grand nom­ sin, Sidney Meyers, Morris Engel, la réalité sociale du peuple amé­ bre de consommateurs possibles Bert Stern, Jerome Hill, Shirley ricain. ou l'on offre aux jeunes, qui for­ Clarke, John Cassavetes auxquels ment la majorité de l'assistance on peut ajouter, bien qu'ils tra­ Robert-Claude Bérubé, p.s.s. Octobre 1961 .
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