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150 Cinéastes Américains Actuels : Petit Dictionnaire Critique Document generated on 09/29/2021 9:08 a.m. 24 images 150 cinéastes américains actuels Petit dictionnaire critique Gérard Grugeau, Thierry Horguelin, Marcel Jean and Georges Privet Tendances actuelles du cinéma américain Number 49, Summer 1990 URI: https://id.erudit.org/iderudit/24190ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this document Grugeau, G., Horguelin, T., Jean, M. & Privet, G. (1990). 150 cinéastes américains actuels : petit dictionnaire critique. 24 images, (49), 28–40. Tous droits réservés © 24 images inc., 1990 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/ 150 CINÉASTES AMÉRICAINS ACTUELS PETIT DICTIONNAIRE CRITIQUE PAR GÉRARD GRUGEAU, THIERRY HORGUELIN, MARCEL JEAN ET GEORGES PRIVET QUI FAIT LE CINÉMA AMÉRICAIN? DANS CE PAYS QUI N'A JAMAIS ENTRETENU LE CULTE DU METTEUR EN SCÈNE, ON CONNAIT QUELQUES GRANDS NOMS, MAIS LE TOUT VENANT DE LA PRODUCTION DEMEURE ANONYME. VOICI DONC, POUR TENTER UNE ESQUISSE DU PAYSAGE CINÉMATOGRAPHIQUE AMÉRICAIN, UN DICTIONNAIRE CRITIQUE, POLÉMIQUE ET SÉLECTIF DE 150 RÉALISATEURS DE LONGS MÉTRAGES DE FICTION ENCORE EN ACTIVITÉ. ON Y TROUVE DE TOUT: IMMIGRANTS ET EXILÉS, PATRIOTES ET OBJECTEURS DE CONSCIENCE, VIEUX RENARDS ET JEUNES LOUPS. DU SORT PARFOIS CRUEL RÉSERVÉ À QUELQUES-UNS AUX OMISSIONS, VOLONTAIRES OU NON, TOUT EST ASSUMÉ. GRANDS MAITRES Woody ALLEN (1935) Francis Ford COPPOLA (ira») Rider (1985), Bird( 1988), etc. Brillant, forcément brillant. Une constan­ Démiurge (Apocalypse Now, 1979; One ce, une adresse, une vitesse d'exécution que From the Heart, 1981), il est pratiquement Milos FORMAN (193a) vient miner une hantise tenace : comment le seul cinéaste américain capable de réussir La célébration de la vie et des vertus de faire vibrer à l'unisson humour, profondeur une suite (The Godfather II, 1974). Son l'innocence et de l'idéalisme sur une petite et amertume. C'est dans cette incertitude envergure se prête mal à l'industrie d'au­ musique mélancolique venue de l'Est qui a qu'au choix on décèle l'âme du cinéaste ou jourd'hui (Tucker, 1988), alors il jette un su résister tant bien que mal aux rigueurs qu'on la cherche. Annie Hall ( 1977), Zelig regard nostalgique sur le passé (The Cotton de l'exil. Un cinéma visuellement inspiré, (1983), Crimes and Misdemeanors (1989), Club, 1984; Peggy Sue Got Married, enrichi des échos de la satire sociale qui le etc. 1986). traverse. One Flew Over The Cuckoo's Nest (1975), Ragtime (1981), Amadeus (1984), Michael CIMINO OMI) Clint EASTWOOD <i»30) Valmont (1989), etc. D'abord scénariste, puis associé à Clint Solitaire, en cow-boy, en justicier ou en Eastwood (Thunderbolt and Lightfoot, cinéaste. Le créditer d'être l'un des cinéas­ Philip KAUFMAN (1935) 1974), il devient une sorte de cinéaste mau­ tes majeurs de son pays relève encore d'une Lhomme atlantique d'une œuvre paraboli­ dit dont l'ambition n'a d'égale que le ta­ certaine forme de snobisme. À la fois juge que qui, telle une galerie des glaces, reflète lent: The Deer Hunter (1978), Heaven's et partie du mythe, il sait d'instinct où à l'infini des images insolites d'Europe et Gate (1980), Year of the Dragon (1985) logent les valeurs et les travers de son Amé­ d'Amérique, flottant entre l'épique et le etThe Sicilian (1988). rique. HonkyTonk Man (1982), Pale romanesque, l'individuel et le collectif. Le k Michael Cimino et Christophe Lambert, Clint Eastwood dirige Potest Whkaket; Bird Philip Kaufman (à dr. ) en compagnie du directeur The Sicilian photo Sven Nykvist, L insoutenable légèreté de 28 N • 4 9 2 4 MAGES DOSSIER: TENDANCES ACTUELLES DU CINÉMA AMÉRICAIN Francis Ford Coppola, Woody Allen et Martin Scorsese refus du consensuel et la survie d'une cer­ Metal Jacket (1987) et la terre adoptive du Statue de la Liberté qui tourne le dos à la taine idée de la «qualité humaine». The Dr. Strangelove (1963). Pas étonnant qu'il tour Eiffel... Right Stuff (1983), The Unbearable soit parti... Lightness of Being (1988), etc. Martin SCORSESE (iraa) Roman POLANSKI (ira») Un cinéma en liberté au meilleur de son Stanley KUBRICK (I •_)•) Un cas limite, certes, mais ce Polonais né à expression créatrice. L'art comme une quête Lauteur de 2001 ( 1968) possède une licence Paris a généralement tourné en anglais pour de l'absolu, comme une expérience mysti­ de pilote mais refuse de prendre l'avion. des compagnies américaines. Après les suc­ que à la liturgie rigoureuse, profondément Il reconstruit donc son pays d'adoption cès de Rosemary's Baby (1968) et China­ marquée au sceau des origines. Taxi Driver (l'Angleterre, où il réside depuis 1962). town (1974), la disgrâce et l'exil. Se re­ (1976), Raging Bull (1980), The King of Pour Kubrick, l'Amérique c'est la culture de tourne (symboliquement?) vers les États- Comedy (1985). Lolita (1962), le passé que révèle le Shin­ Unis avec Frantic (1988), où des touristes ing (1980), la fabrique de tueurs de Full américains perdus à Paris cherchent une 24 IMAGES N • 4 9 29 AUTEURS Blake EDWARDS o»») Down by Law (1986) et Mystery Train Paul NEWMAN (i»_ts) Remis en selle par le succès de Ten (1979), (1989). On oublie trop souvent que cet excellent atteint un sommet inégalé depuis avec Vic­ acteut est aussi un grand metteut en scène. tor/Victoria (1982). Ses derniers films, SpikeLEE(i»ss) Six films dont Rachel, Rachel (1968), variations sur une thématique désormais La tornade du cinéma new-yorkais indépen­ Harry and Son ( 1984) et The Glass Me­ stable, explorent la psyché du mâle califor­ dant. Un cinéma de la profusion qui, tout nagerie ( 1987). nien polygame. L'efficacité burlesque y en intégrant une certaine tradition classi­ prime la sophistication visuelle d'antan et que américaine, façonne sans démagogie Ivan PASSER p»33) l'euphorie n'y va plus sans une sourde mé­ son regard à l'aune des enjeux politiques et Comment ce grand cinéaste tchèque (Eclai­ lancolie. esthétiques de son époque (affirmation de rage intime, 1965), auteur de films améri­ l'identité noire américaine et métissage des cains corrosifs (Born to Win, 1971; Law Mente HELLMAN (ira» fotmes). Un «rappeur» de l'écran qui célè­ and Disorder, 1974; Cutter's Way, 1981) Phare des années 65 -70, il incarne la transi­ bre les corps et le langage avec humour et a-t-il pu réaliser cette fable reaganienne tion du western au road movie. Puis est gravité. Résolument moderne. She's Gotta intitulée Creator (1985)? réduit par nécessité à tourner des films B de Have It (1986), School Daze (1987), Do plus en plus fauchés à un rythme de plus en The Right Thing (1989). Karel REISZ (ira*) plus espacé, que les rares bêtes de festival Cinq films aux États-Unis depuis 1974, qui les ont vus disent tout à fait dignes dont on détache Who'll Stop the Rain d'intétêt. Les mêmes espèrent beaucoup David LYNCH |iwi (1978), l'un des meilleurs films sur l'après- d'Iguana (1988), qui marque son retour Ou la beauté ténébreuse et éblouissante du Vietnam, et surtout The French Lieuten­ après dix ans de silence forcé. cauchemar éveillé : ses films anglais Eraser- ant's Woman (1982), où se conjuguent head (1978), The Elephant Man (1980). l'élan du romanesque, la réflexion du ciné­ Jim JARMUSCH (i»s3) S'enlise dans les sables de Dune (1984), ma et le jeu sur le temps. À la recherche Le look d'une génération, un véritable sens avant d'explorer un territoire terrifiant: depuis d'un nouveau souffle. du comique, une certaine nostalgie et un l'Amérique - Blue Velvet (1986) et Wild maniétisme certain : Permanent Vacation At Heart (1990). Petsonnages et texture (1980), Stranger Than Paradise (1984), d'un quotidien à la fois banal et étrange. FAUX AUTEURS ? Peter BOGDANOVICH (i»3») COSTA-GAVRAS (1933) l'ont prouvé a contrario: chez De Palma, Ou la masturbation du cinéma de cinéphile Spécialiste des allers retours idéologiques violence, trompe-l'œil, goût du pastiche et (What's Up Doc?,\912; Paper Moon, (Z, 1969; Laveu, 1970), il s'américanise virtuosité ne portent fruit que lorsqu'ils 1978; Nickleodeon, 1976). Fonde avec avec Missing ( 1982) et poursuit dans la voie se nourrissent du cinéma d'Hitchcock ou Coppola et Friedkin la défunte «Director's de la politique-fiction ambiguë avec d'Antonioni. Company», puis s'écrase en tentant de faire Betrayed ( 1988) et Music Box ( 1989). de Cybill Shepard la nouvelle Lombard David MAMET (Daisy Miller, 1974; et l'insoutenable At Brian DE PALMA (i»4»> Transfuge du théâtre. Dans House of Long Last Love, 1975). Achève Texasville, La boursouflure de nouveau riche de The Games (1987) et plus encore dans Things la suite de son premier et plus grand succès Untouchables (1987) et la lourdeur Change ( 1988), plus brillants que convain­ The Last Picture Show (1971). démonstrative de Casualties of War ( 1989) cants mais tout à fait estimables, les scéna- David Lynch Paul Newman (à dr.) dirige John Malkovitch, Paul Schrader (à dr. ) sur le tournage de Mishima The Glass Menagerie 30 N • 4 9 24 IMAGES DOSSIER: TENDANCES ACTUELLES DU CINÉMA AMÉRICAIN rios qui sentent un peu trop la ficelle et le (1976), Remember my Name (1978), que! pourquoi, a aussi un penchant pour le brio trop appuyé, mais indéniable, de la Choose Me (1984), Trouble in Mind prolétariat : Blue Collar ( 1978) et Light of mise en scène empêchent dans leur élan de (1987), The Moderns (1988), etc.
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