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Le Creuset Du Faussaire / Drowning by Numbers, De Peter Greenaway] Document généré le 27 sept. 2021 15:48 24 images Le creuset du faussaire Drowning by numbers, de Peter Greenaway Gérard Grugeau Montréal cinéma Numéro 39-40, automne 1988 URI : https://id.erudit.org/iderudit/22213ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Grugeau, G. (1988). Compte rendu de [Le creuset du faussaire / Drowning by numbers, de Peter Greenaway]. 24 images, (39-40), 20–21. Tous droits réservés © 24 images inc., 1988 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/ DROWNING Jason Edwards et Natalie Morse, la petite narratrice. LE CREUSET DE FAUSSAIRE par Gérard Grugeau Bernard Hill, Kenny Ireland et Michael Percival. «Un conte de fées noir pour adultes, à la fois poétique et amoral.» n compétition officielle pour la «conspiratrices» ont l'intime conviction entraîne le spectateur au-delà du miroir deuxième année de suite, Peter que leur crime demeurera impuni. Mais la pour le guider à travers un labyrinthe E Greenaway aura encore une fois partie sera rude car le juge et son jeune fictionnel évoquant les univers en divisé la critique et le public. «Styliste de fils-tous deux joueurs invétérés - entraî­ trompe-l'oeil d'un Borges ou d'un Calvi­ mode» aux tocades esthétiques exaspé­ neront leur entourage dans une sorte de no. rantes pour certains, esprit sophistiqué à jeu de l'oie obsessionnel, où le sexe et la Drowning by Numbers se présente l'exceptionnelle personnalité pour d'au­ mort prendront la forme d'une rhétorique comme un conte de fées noir pour adul­ tres, Peter Greenaway ne serait pas «un visuelle des plus sophistiquée. tes, à la fois poétique et amoral. Les fem­ réalisateur... mais un greenaway» si l'on Dans Drowning by Numbers comme mes souveraines y triomphent de la en croit le bon mot de Sacha Vierny, son dans Le ventre de l'architecte (chiffre balourdise des hommes. Avant de mourir directeur de la photographie attitré 7) ou Z.O.O (chiffre 2), cette rhétorique noyé lui aussi, le juge d'instruction aura depuis A Zed and Two Noughts. C'est visuelle obéit chez Greenaway à une au moins apprécié le divertissement. Fair dire que Greenaway fait partie de ces rigueur mathématique sans faille. Le film play britannique oblige! Ses glissements artistes inclassables, indissociables de s'ouvre sur une petite fille de 13 ans qui progressifs vers l'absurde et l'ironie, de leurs œuvres, qui réagencent le désordre saute à la corde tout en comptant les même que cette passion des jeux de l'es­ du monde au gré de leur intarissable inspi­ étoiles jusqu'à 100. Entre un tronc d'arbre prit et des «understatements» du langage, ration pour donner corps aux vastes terri­ marqué du chiffre 1 et une barque avec le relèvent bien évidemment d'une tradition toires d'un imaginaire à la cohérence per­ chiffre 100 peint sur sa proue, le cinéaste littéraire typiquement britannique, dont verse. organise un récit jalonné méthodique­ les «nonsense poems» de Edward Lear ou Figure inversée de la comptine Billy ment selon les subdivisions unitaires de les écrits de Lewis Caroll constitueraient Goat Gruff, Drowning by Numbers est cette séquence numérique.2 Partie inté­ ici les referents incontournables. l'histoire de trois femmes du même nom1 grante de cette structure fragmentarisée, Mais l'Angleterre, c'est aussi un profond (la grand-mère, la mère et la fille) que la petite fille du prologue remplit le rôle respect de la nature, une nature qui ali­ l'insatisfaction conjugale pousse au meur­ d'une narratrice quasi omniprésente dont menta le romantisme de nombreux pein­ tre. Dans un élan de solidarité féminine, les commentaires hors champ cimentent tres paysagistes comme Constable. Coïnci­ toutes trois décident de noyer leur mari : les éléments disparates d'une fiction en dence troublante, c'est d'ailleurs dans le la première dans une baignoire, la devenir, placée sous le signe de la manipu­ Sufolk natal de Constable que Peter Gree­ deuxième dans la mer et la troisième dans lation. Cette petite «Alice au pays des naway ancre le bateau ivre de son récit une piscine. Fortes du charme qu'elles jeux», qui a revêtu pour nous les atours multiforme. Fils d'ornithologue, le exercent sur le juge d'instruction, nos des infantes espagnoles de Velasquez, cinéaste a appris très jeune à appréhender 20 CANNES BY NUMBERS de Peter Greenaway Cissie Colpitts 1 (Joan Plowright), Cissy Colpitts 3 (Joe'y Richardson) et Cissie Colpitts 2 (Juliet Stevenson). l'environnement en termes d'histoire cette affirmation contient peut-être en monde mystérieux à la beauté glacée que naturelle. Drowning by Numbers en elle les germes de l'ambivalence qu'entre­ seule l'ironie de son créateur parvient à témoigne à chaque plan par l'extrême tient le cinéma de Greenaway avec son sauver d'une désespérante stérilité. Mal­ composition de ses cadrages. Magique­ public. Cet élan du coeur contradictoire gré la distance qu'il maintient entre lui et ment photographiée par le Sacha Vierny tient à la fois de la fascination et de l'irrita­ son public, peut-être par pudeur ou par de Marienbad, la nature y est objet de tion. Fascination et respect envers la refus de toute complaisance, Peter Gree­ vénération et d'amour. Qui plus est, c'est démarche profondément originale d'un naway n'en demeure pas moins un authen­ dans son giron généreux que celle-ci artiste en quête de lui-même. Irritation et tique bâtisseur de formes œuvrant au sein consacre les épousailles hybrides de la rejet devant le formalisme cartésien de d'un paysage cinématographique, qui voit peinture, de la poésie et du cinéma. De ce l'œuvre faussement métaphysique d'un de plus en plus le sens de la valeur du mariage tant de raison que passionnel, auteur misanthrope. monde se diluer dans le néant. • célébré par la musique purcellienne de Tout hypnotiques qu'ils soient, les colla­ Michael Nyman*- autre élément constitu­ ges à la Greenaway peuvent lasser du fait 1. Le personnage de Cissie Colpitts a déjà un passé tif de l'objet cinématographique - naît de leur surcharge de préciosité et de ratio­ puisqu'elle apparaissait à la fois dans Vertical l'univers insolite et excentrique de Peter nalité. Du fatras d'images qui nous est Features Remake (1978) et dans la version 1980 de The Falls. Greenaway. Un univers souvent qualifié proposé jaillit alors «un style qui épuise 2. En 1975, Peter Greenaway et son musicien favori de post-moderniste, mais que le cinéaste toutes les possibilités et qui frôle sa pro­ avaient travaillé ensemble sur un court métrage lui-même préfère rattacher au courant pre caricature», selon la définition du de 4 mn intitulé : One to One Hundred ( 1 -100). maniériste du 16e siècle. baroque suggérée par Borges. Les fictions 3. Michel Ciment, revue Positif, numéro 320, octo­ Riche et exigeant, le cinéma de Peter savamment maîtrisées apparaissent engon­ bre 1987. Greenaway évoque le formidable creuset cées dans le carcan d'un esthétisme hyper­ d'un faussaire dans lequel se fondent les trophié qui finit par réprimer tout ce qui éclats flamboyants de la mémoire intellec­ constitue la texture de la vie. Coupé des tuelle et artistique du monde. Bardé de préoccupations du monde, l'univers de citations picturales et autres, il renvoie à Peter Greenaway déconcerte par le narcis­ DROWNING BY NUMBERS ce néo-maniérisme qui, selon Michel sisme de ses élans. Aucune place n'est Grande-Bretagne 1988. Ré. et scé. : Peter Greenaway. Ciment3, «fait que l'art est tellement cons­ laissée à l'improvisation, à la faille d'où Ph. : Sacha Vierny. Mont. : John Wilson. Mus. : Michael cient de lui-même qu'il ne peut se consti­ pourrait jaillir l'émotion trop longtemps Nyman. Int. : Joan Plowright, Juliet Stevenson, Joely Richardson, Bernard Hill, Jason Edwards, Bryan tuer que par références». contenue. Le désir d'images se complaît Pringle, Trevor Cooper, David Morrissey. 118 min. «Un art trop conscient de lui-même» : alors dans l'évocation somptueuse d'un Couleur. 21 .
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