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Gregory Peck Patrick Schupp Document generated on 09/25/2021 12:36 p.m. Séquences La revue de cinéma En gros plan Gregory Peck Patrick Schupp Joie et espérance Number 41, April 1965 URI: https://id.erudit.org/iderudit/51808ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Schupp, P. (1965). En gros plan : Gregory Peck. Séquences, (41), 28–30. Tous droits réservés © La revue Séquences Inc., 1965 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/ en gros plan GREGORY PECK Patrick Schupp To Kill a Mockingbird, de Robert Mulligan Un homme dépourvu de sincérité et de fidélité est un être incompréhensible à mes yeux. C'est un grand char sans flèche, un petit char sans timon ; comment peut-il se conduire dans le chemin de la vie ? Confucius Gregory Peck est né à La Jolla chaque fois mieux, et plus. On le (Californie), il y a tout juste 50 connaît, sa réputation s'affirme. En­ ans. Ses études en médecine, après fin, c'est la gloire, ou presque : en une jeunesse calme, (son père était fin de guerre (1943), Hollywood pharmacien) le conduisent à l'Uni­ lui signe un contrat mirifique : 12 versité. Parallèlement, passionné films en 4 ans. Et voilà. Cela pa­ par l'art dramatique, il y joue sur raît simple, mais comme l'acteur scène à 19 ans, le rôle du capitai­ a toujours cédé le pas à l'homme, sa ne Achab, dans Moby Dick, qu'il personnalité au charme tranquille l'a reprendra, avec le succès que l'on tout naturellement poussé vers le sait, une vingtaine d'années plus succès sans qu'il ait eu à faire de tard au cinéma. bien gros efforts. C'est cette per­ Ayant décidé d'opter finalement sonnalité qui définit et oriente ses pour le théâtre, il descend à New rapports (autant ceux de l'homme York. Il a 23 ans, il est sans argent, que ceux des personnages si divers sans amis . Après une période où qu'il incarne) avec le monde exté­ il fait un peu de tout, il est enfin rieur. Il est tout d'abord l'Améri­ engagé par Katherine Cornell pour cain moyen, "l'homme au complet ds tournées de province. Il joue... gris" (c'est le titre de l'un de ses I 28 SÉQUENCES films) que vous et moi rencontrons dans quelque pays que ce soit, il n'y à tous les coins de rue. Il est aussi a personne qui ne s'identifie à lui, le chevalier sans peur et sans repro­ qui ne comprenne que ce qui arrive ches, calme et efficace. Son hu­ à ce grand garçon au regard tendre mour comme sa sensibilité sont d'un et à la mèche sur le front pourrait intellectuel. D'autre part, dans la aussi bien arriver à vous ou à moi. vie comme à l'écran, il est toujours Il a tout interprété, ou presque : sincère, discret, et surtout juste. aventurier, journaliste (souvent), D'où la raison de la citation de Con­ colonel ou officier de terre, d'air ou fucius qui semble avoir été écrite de mer, médecin, prêtre, capitaine pour lui. de vaisseau XVIIIème, avocat, cow­ Ce n'est pas par hasard que Ro­ boy (mais avec une réelle dimen­ bert Mulligan l'a choisi pour lui sion psychologique), intellectuel, et faire interpréter le rôle d'Atticus même personnage biblique (et là (Du Silence et des ombres, 1963) encore parce qu'il y avait un pro­ qui lui a enfin fait obtenir cet Os­ blème humain et un conflit intel­ car auprès duquel il était déjà passé lectuel). Tous ces rôles, ou leur trois fois. Gregory Peck le dit lui- contexte, ont des points communs: même d'ailleurs, et ceci n'est pas de l'amour de la mer et des grands es­ moindre importance : "Cette petite paces, des dimensions psychologi­ ville du Sud (où se passe l'action) ques relativement vastes (il pousse me rappelle celle de Californie où plus loin, intellectuellement, que la j'ai passé ma jeunesse. Les person­ plupart de ses confrères), et surtout nages du roman ressemblent aux ce dénominateur commun de la re­ gens que je connaissais enfant. Et cherche de l'homme, de sa réalisa­ je pense que le plus grand intérêt tion profonde et exacte : l'idéalis­ du roman réside dans le fait qu'il me, les aspirations les plus nobles rappelle aux lecteurs du monde en­ et les plus humaines sont poursui­ tier une personne ou une petite vies en une "conquête pacifique". ville qu'ils ont bien connue. C'est Car bien souvent, le masque de pour moi une histoire universelle l'acteur se déplace pour clairement émouvante, vibrante, et racontée laisser entrevoir le visage de l'hom­ avec beaucoup d'humour et de ten­ me : voilà la raison de son naturel, dresse". Tout l'homme est compris de la perfection classique de ses in­ dans cette déclaration qui le dé­ terprétations et de son éternel suc­ finit aussi clairement que possible. cès. Il se mord les doigts de n'avoir En fait, l'essentiel de son succès au­ pas accepté le rôle en or du Pont près du public réside en son attitu­ de la rivière Kwai mais s'est rat­ de : il est toujours l'un de nous, et trapé avec les Canons de Navarone, AVRIL 1965 29 quoique la mise en scène specta­ chef-d'oeuvre, l'Atticus du Silence culaire de Lee Thompson ait passa­ et des ombres. De plus en plus, il blement relégué l'homme au second s'interprète lui-même, au hasard des plan, donnant prépondédance à l'ac­ personnages choisis avec un soin teur, une fois par hasard ! méticuleux, cherchant à donner les Le dernier Rivage (On the dimensions d'un homme vrai, équi­ Beach), film tronqué, est plus dans table et sincère, pour lequel l'espé­ ses cordes, comme celui de Captain rance et la justice sont les tenants Newman, ainsi évidemment que son et les aboutissants. FILMOGRAPHIE 1943 — Days of Glory — Jacques Tourneur 1944 — The Keys of the Kingdom (Les Clefs du royaume) John Stahl 1945 — Valley of Decision (La Vallée du jugement) Tay Garnett — Spellbound (La Maison du Docteur Edwards) Alfred Hitchcock 1946 —• The Macomber Affair (L'Affaire Macomber) Zoltan Korda — Gentleman's Agreement (Le Mur invisible) Elia Kazan —• The Paradine Case (Le Procès Paradine) Alfred Hitchcock 1947 — The Yearling (Jody et le faon) Clarence Brown •—• Duel in Ihe Sun (Duel au soleil) King Vidor 1948 — Yellow Sky (La Ville abandonnée) William Wellman 1949 — 12 O'Clock High (Un Homme de fer) Henry King — The Great Sinner (Passion fatale) Robert Siodmak 1950 — The Gunfighter (La Cible humaine) Henry King 1951 — Only the Valiant (Fort Invincible) Gordon Douglas — David and Bathsheba (David et Bethsabée) Henry King — Captain Horatio Hornblower (Capitaine Sans-peur) Raoul Walsh 1952 — The World in his Arms (Le Monde lui appartient) Raoul Walsh 1953 — The Snows of Kilimanjaro (Les Neiges du Kilimanjaro) Henry King — Roman Holiday (Vacances romaines) William Wyler — Nigh People (Les Gens de la nuit) Nunnally Johnson 1954 — Man with a Million (L'homme aux millions) Ronald Neame — The Purple Plain (La Flamme pourpre) Robert Parrish 1955 — The Man in the Grey Flannel Suit (L'Homme au complet gris) Nunnally Johnson 1956 — Moby Dick — John Huston 1957 — Designing Woman (La Femme modèle) Vincente Minnelli 1958 — The Big Country (Les grands Espaces) William Wyler — The Bravados (Les Bravados) Henry King 1959 —• Pork Chop Hill (La Gloire et la peur) Lewis Milestone — On the Beach (Le dernier Rivage) Stanley Kramer — Beloved Infidel (Un Matin comme les autre) Henry King 1960 —• The Guns of Navarone (Les Canons de Navarone) J. Lee Thompson 1961 — Cape Fear (Les Nerfs è vif) J. Lee Thompson 1962 — To Kill a Mockingbird (Du Silence et des ombres) Robert Mulligan 1963 — Captain Newman, (Le Combat du capitaine Newman) David Miller 1964 — Behold a Pale Hone (Et vint le jour de la vengeance) Fred Zinnemann 1965 — Mirage —• Edward Dmytryk 30 SÉQUENCES .
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