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Full Text (PDF) Document generated on 09/25/2021 1:21 p.m. Séquences La revue de cinéma Vues d’ensemble Fin de siècle et cinéma italien Number 210, November–December 2000 URI: https://id.erudit.org/iderudit/48786ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review (2000). Review of [Vues d’ensemble]. Séquences, (210), 62–67. Tous droits réservés © La revue Séquences Inc., 2000 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/ -L€S FILMS VUES JE THE CELL sont infinies. Commence ainsi une série de ses œuvres les plus populaires (Jean de voyages virtuels, sortes d'étranges huis clos Florette, Germinal, Lucie Aubrac). Il Bien que cette intrigue policière qui suit en enfilade sur de multiples décors aurait sans doute fallu explorer davantage la piste d'un tueur en série puisse s'appa­ oniriques où cauchemars et fantasmes les thèmes du désir et du vieillissement, et renter à Seven et à The Silence of the côtoient l'horreur. Certaines scènes sont développer un peu plus la psychologie du Lambs, The Cell se distingue de ses d'ailleurs à la limite du supportable. personnage féminin interprété malgré tout prédécesseurs par son esthétisme et son À mi-chemin entre le surréalisme, le avec brio par Fanny Ardant. habileté à sonder les méandres de la psy­ baroque et le cinéma expérimental, ce pre­ Berri aurait facilement pu exploiter le chologie humaine. mier film de Tarsem Singh, réalisateur de filon comique d'un sujet aussi explosif, la Le subterfurge utilisé est efficace : vidéoclips {Losing My Religion, de R.E.M.) lassitude sexuelle chez l'homme et l'arrivée grâce à une nouvelle méthode de traite­ et de publicités (pour les compagnies Nike sur le marché de la pillule-miracle Viagra ment thérapeutique, une psychologue et Levi's, entre autres), tire sa force de ses (le film a été tournée en 1998) étant des entre dans le subconscient d'un prédateur images somptueuses, troublantes et envoû­ thèmes si peu souvent traités au cinéma. sexuel comateux afin de découvrir l'en­ tantes. À ce propos, il faudrait aussi Malheureusement, à ses pires moments, droit où se cache sa dernière victime, tou­ souligner l'apport artistique considérable La Débandade n'est qu'un ramassis de jours vivante. Les possibilités sensorielles de Tom Foden, concepteur des décors, quiproquos monotones et de discussions d'Eiko Ishioka, créateur des costumes, entre vieillards libidineux sur les tech­ ainsi que de la maquilleuse Michèle Burke. niques à pratiquer pour contrer l'impuis­ Ils ont su créer un monde irréel remar­ sance. Au mieux, il rappelle par moments quable et troublant. les comédies italiennes qui ont fait la belle Pourtant, toute cette expérience époque des années 60. Il n'est pas sur­ visuelle laisse un goût amer et froid, prenant que le résultat soit si navrant : La comme si, en cours de route, le réalisateur Débandade a été un échec en France et n'a s'était lui-même pris au piège devant tant pas tenu l'affiche très longtemps au de fantaisie et si peu de contenu. Ainsi, Québec non plus. devant ce manque de rigueur, le récit Pierre Ranger devient prévisible et laisse le spectateur à la fois émerveillé et déconcerté. France 1999, 100 minutes - Réal. : Claude Berri - Pierre Ranger Scén. : Claude Berri — Int. : Claude Berri, Fanny Ardant, Claude Brasseur, Alain Chabat, Danièle Lebrun, Brigitte Bémol - Dist. : Lions Gate. ^m La Cellule États-Unis 2000, 107 minutes - Réal. : Tarsem Singh - Seen. : Mark Protosevich - Int. : Jennifer Lopez, Vince GODZILLA 2000 Vaughn, Vincent D'Onofrio, Jake Weber, Dylan Baker, Marianne Jean-Baptiste, James Gammon, Tara Subkoff, Colton James, Patrick Bauchau, Gareth Williams — Dist. : Pour les inconditionnels de Godzilla (et Alliance Atlantis Vivafilm. ils sont légion), la sortie de Godzilla 2000 sur les écrans nord-américains constituait LA DÉBANDADE un événement. Mais les amateurs les plus avertis étaient au courant du piètre accueil Selon l'aveu de Claude Berri, La Déban­ réservé au film au Japon (le pire box-office dade n'est pas un film autobiographique, de toute la série) et, malheureusement, ces mais plutôt un projet personnel. Pourtant, craintes étaient fondées. Godzilla 2000 n'a tout, dans ce long métrage qui traite de rien pour combler les attentes, tant celles l'usure d'un couple et, plus particulière­ des fans que celles des néophytes. Non pas ment, de dysfonctionnement erectile, que la nouvelle allure de Godzilla soit exhibe les prouesses du cinéaste : il signe à décevante, au contraire (sa nouvelle crête la fois la mise en scène, le scénario et les dorsale lui donne une silhouette impres­ dialogues, et interprète même le rôle-titre, sionnante), mais les effets spéciaux sur­ poussant l'audace jusqu'à utiliser son véri­ passent à peine en qualité ceux d'un film table nom. de série B minable : transparences des plus Or, cette comédie légère n'a ni la évidentes, infographie sommaire (très portée de ses premiers films (Le Vieil original, le style de l'engin volant !), plans Homme et l'Enfant, Le Cinéma de papa, trop granuleux, etc. Ces lacunes techniques Le Pistonné, Je vous aime) ni l'ardeur de sont d'autant plus irritantes que les der- SÈQUENCES 210 novembre!décembre 2000 VUESD'ENSEMBLE LES FILMS niers films de monstres japonais (la trilo­ de la guerre entre bandes de motards à tra­ plus préoccupés par le contrôle et le succès gie des Gaméra par exemple) avaient con­ vers les yeux d'un jeune délinquant qui se de leur « entreprise » que par la volonté de sidérablement élevé nos attentes. laisse entraîner dans ce monde fascinant, vouloir faire partie d'une bande rivale. Le film ramène les pires défauts de dangereux et inévitablement fatal. Dans le rôle complexe de Marc, person­ certains ka'iju-eiga : des personnages Hardi, le cinéaste Michel jette nous nage central du film, un être déchiré entre inconsistants récitant des dialogues à faire offre une fiction hautement ambitieuse le bien et le mal, le jeune débutant hurler, un personnage de gamin ou de (tournage de moins de trois semaines, Dominic Darceuil manque d'assurance et gamine qui n'a strictement rien à faire budget ridicule, version finale de plus de de conviction. Ceci étant dit, Hochelaga dans l'histoire, une mise en garde simpliste deux heures) qui, malgré de nombreuses mérite tout de même le détour pour son des dangers de la science (rien à voir avec qualités, ne s'avère pas à la hauteur de nos écriture rigoureuse, mais également l'ambiguïté de celle-ci dans le Godzilla attentes. comme objet de curiosité. original) ; bref, il s'agit d'un film qui risque D'un côté, l'écriture du film impres­ Pascal Grenier de nuire à l'image de notre dinosaure bien sionne. Le langage est cru et grassement aimé ! Godzilla 2000 a de quoi conforter « québécisé » ; les dialogues, incisifs ; la Canada [Québec] 2000, 130 minutes - Réal. : Michel Jette - dans leur opinion ceux pour qui un film construction dramatique, solide. Le film Seen. : Michel Jette - Int. : Dominic Darceuil, Ronald Houle, David Boutin, Michel Charette, Claudia Hurtubise, Paul Dion, japonais de science-fiction est synonyme offre également une intéressante réflexion Deano Clavet, Patrick Peuvion, Michéle Péloquin - Dist. : de produit démodé, kitsch et de piètre sur le pouvoir et la manipulation — son Cinéma Libre. qualité, ceux pour qui le souvenir du sujet principal. Par contre, en situant l'ac­ Godzilla nippon se limite à un film de Jun tion de son film dans le contexte des guer- Fukuda diffusé un après-midi pluvieux. La question qui vient évidemment à l'esprit est de savoir si la version américaine de Godzilla, réalisée par Roland Emmerich, a exercé une influence néfaste sur la Toho, maison de production de la série japonaise, question d'autant plus per­ tinente que certains plans de Godzilla 2000 renvoient directement au film d'Emmerich (le gros plan de l'œil, par exemple) — et même à Jurassic Park (le monstre approchant son immense tête de la jeep). Ce nouvel adversaire qui, au cours du com­ bat final, subit une mutation qui aurait dû, ultimement, en faire un clone de Godzilla, constitue peut-être toutefois un clin d'œil mordant à l'appropriation du mythe par les Américains, car leur Godzilla représente lui aussi une évocation très partielle de l'origi­ nal. On se plaît à imaginer le ton caustique res intestines actuelles, Jette rate littérale­ que Godzilla 2000 aurait pu adopter en ment son coup, son regard sur le milieu citant davantage la version américaine. Nul d'aujourd'hui étant tout au mieux dépassé. doute que les fans auraient apprécié... Tout ce qui semble compter pour les Alain Vézina motards d'Hochelaga sont les couleurs, les ^B Gojira ni-sen mireniamu tatouages de même que le nom de la bande Japon 1999, 99 minutes - Réal. : Takao Okawara - Scén. : auquelle ils appartiennent. On se croirait Hiroshi Kashiwabara, Wataru Mimura - Int. : Takehiro de retour à l'époque des rejetons d'Easy Murata, Naomi Nishida, Mayu Suzuki, Tsutomu Kitagawa, Hiroshi Abe, Shir Sano, Shelley Sweeney - Dist. : Columbia. Rider tels que Hells Angels on Wheels et autres Angels Hard as They Come... sans HOCHELAGA toutefois avoir conservé le côté outrancier, ridicule et ostensiblement trash de ces Le monde dur et violent des motards films, bien entendu.
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