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dimanche 10 avril à 20h00 LE NARCISSE NOIR (Black Narcissus) 1956 -- 1947 - 1h40 — VOSTF— copie restaurée Réalisé par Michael Powell & Emeric Pressburger Avec Deborah Kerr, David Farrar, Flora Robson, Sabu. Sur les contreforts de l’Himalaya, une congrégation de nonnes s’établit dans un ancien harem avec l’intention de transformer le lieu en dispensaire. Dean, un agent anglais, est chargé de les aider à construire une école, mais il se heurte rapidement à la sœur Clo- dagh qui trouve ses manières incorrectes. Au sein de la communau- té, la solitude pèse de plus en plus sur les cœurs, et les tensions s’exacerbent. Il est impossible d’évoquer le cinéma anglais sans donner la part du lion au duo formé par Michael Powell et Emerich Pressburger. The Archers, du nom de la société de production qu’ils fondèrent, furent les responsables de 19 films entre 1939 et 1972 dont une bonne partie est entrée dans l’histoire du cinéma : Le 49ème parallèle (1941), Le Colonel Blimp (1943), Une Question de Vie ou de Mort (1946), Les Chaussons Rouges (1948), Les Contes d’Hoffmann et bien sûr Le Narcisse Noir (1947). Le cinéma anglais d’après-guerre fit preuve d’une vitalité qu’on oublie un peu trop au- jourd’hui. Et pourtant c'est un âge d'or pour David Lean (Brève Rencontre), Carol Reed (Le Troisième Homme) ou les Studios Ealing (Whisky à gogo , Noblesse Oblige...). C’est dans ce contexte que s’épanouit The Archers, qui après Une question de vie ou de mort (une fantaisie très audacieuse sur fond de guerre mondiale), décidèrent d’aller encore plus loin pour leur prochain film en adaptant le livre éponyme de Rumer Godden. Comme d’habitude avec le duo, Pressburger écrit le premier jet du scénario avant que les deux hommes ne l’achèvent. Powell s’occupe principa- lement de la réalisation et Pressburger de la production mais ils sont cités ensemble à tous ces postes tant leur collaboration créative est étroite. Très tôt les deux hommes prennent une décision extrêmement risquée qui donnera au Narcisse Noir son style si unique : tourner tout le film, dont l’ac- tion se situe à Calcutta en Inde, intégralement en studios à Londres. Les peintures sur verre et les maquettes sont absolument superbes mais c’est surtout le travail de Jack Cardiff, leur chef opéra- teur, qu’il convient de mettre à l’honneur. Son travail, très inspiré par Vermeer et Caravage, n’est d’ailleurs pas passé inaperçu car en plus de rece- voir l’Oscar et le Golden Globe, les patrons de Technicolor déclarèrent le film comme le plus bel exemple de ce que leur procédé pouvait donner ! Néanmoins ce serait faire du tort au film de ne vanter que ses qua- lités plastiques. L’interprétation est remarquable. Deborah Kerr et Kathleen Byron en tête. Mais aussi David Farrar et Jean Sim- mons, toute jeune, grimée en indienne pour l’occasion ; ainsi que Sabu, l’enfant-star du Livre de la Jungle et du Voleur de Bag- dad (d’ailleurs co-réalisé par Michael Powell). Un grand film, comme on ne sait plus en faire, qui joue merveilleu- sement avec les outils de la fiction, des décors, du réel, du rêve, de la folie… .

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Boxoffice Barometer (March 6, 1961)
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