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Nosferatu L'abbé / Tartuffe De Murnau

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Nosferatu L'abbé / Tartuffe De Murnau Document generated on 09/26/2021 11:46 p.m. 24 images Nosferatu l’abbé Tartuffe de Murnau Robert Lévesque Gilles Carle vu par… Number 123, September 2005 URI: https://id.erudit.org/iderudit/5143ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Lévesque, R. (2005). Review of [Nosferatu l’abbé / Tartuffe de Murnau]. 24 images, (123), 41–41. Tous droits réservés © 24/30 I/S, 2005 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/ LES INVISIBLES Nosfératu l'abbé par Robert Lévesque Berlin, le Gloria-Palast est tou­ non maquillés au jeu retenu, les scènes de jours sur le Ku'damm, cette la pièce de Molière étaient jouées en cos­ salle aujourd'hui mythique où, tumes (XVIII'" et non XVIIe) et tournées à le 25 janvier 1926, pour l'inau­ travers une gaze donnant une allure pictu­ Agurer, on projeta Tartuffe de Murnau, film rale aux scènes et aux expressions des acteurs méconnu, à peu près introuvable jusqu'à ce maquillés. que l'Institut Murnau de Wiesbaden en réa­ Le brechtien de l'affaire c'est que, ce film lise en 2002 une copie restaurée; j'eus le bon­ dans le film comprenait réellement la pro­ heur de découvrir ce film sur une copie usée, jection d'un film : au prologue, constatant au Goethe-Institut, il y a un lustre. Joyau le crime en puissance et chassé par la gou­ «murnauéen»... vernante, le petit-fils s'adresse au spectateur C'est le Tartuffe de Murnau plus que de pour expliquer ce qu'il va organiser; afin de Molière, il ne s'agit pas d'une adaptation car démasquer la gouvernante, il se transforme le maître (à 36 ans il a déjà signé Nosfératu en présentateur ambulant de cinéma et, pas­ le vampire et Le dernier des hommes, il ira sant devant la maison du grand-père avec bientôt à Hollywood tourner L'aurore) éli­ son attirail du Grand Touring Cinema, il leur mina les deux premiers et le cinquième actes, propose une projection maison de Tartuffe, centrant l'action sur le stratagème d'Elmire ou le drame de messire Orgon et de son ami démasquant l'imposteur aux yeux d'Orgon; très cher. On l'invite, il installe un drap, et le Tartuffe d'Emil Jannings car l'acteur, le film démarre. À l'épilogue le vieillard a à l'origine du projet (Murnau retarde Faust compris, la gouvernante est chassée. C'est le pour ce contrat), y déploie sa balistique coup d'Hamlet demandant à des comédiens expressionniste. de passage de jouer une pièce qui reproduit Sadoul sur Jannings : « louchant, baveux, devant le roi Claudius le meurtre que celui-ci dépeigné, débraguetté, hoquetant, outran- a commis en versant un poison dans l'oreille cier, il escamota les traits essentiels de de son père. Molière derrière une libidineuse sexualité ». Murnau, une intelligence, une vaste Pour Sadoul, pour Bardèche et Brasillach culture, évitait le théâtre filmé (Albert dans leur Histoire du muet, ce film était un Capellani avait filmé en 1910 un Tartuffe échec. Ils se trompaient. Murnau maîtrise là théâtral) et, avec son art des images élo­ à la perfection le style du Kammerspiel (théâ­ quentes, des ombres parlantes, du mouve­ le contrôle de la lumière qui donne à cha­ tre de chambre) qu'avait théorisé son scéna­ ment, des perspectives, du jeu de la caméra que plan une correspondance picturale, de riste Carl Mayer et il signait un film d'excep­ « déchaînée » de son opérateur Karl Freund, Rembrandt à Caspar David Friedrich ; la tion (charnière), d'esprit pré-brechtien. il célébrait le cinéma tel qu'en lui-même... lumière était sa matière, le mouvement sa Avec Tartuffe, Murnau amorçait sa sortie mais la mort attendait cet homme en 1931, à manière, les ombres ses complices. de l'expressionnisme. Lui et Mayer, hachant 42 ans, un amant imprudent au volant d'une Murnau retenait de Molière le côté la pièce, avaient eu la brillante idée d'écrire Packard..., l'embardée. Murnau meurt à la maléfique de la dévotion; Jannings avan­ un prologue et un épilogue pour proposer, fin du muet. çant le missel dans les yeux... Il en fit un en ouverture, une situation contemporaine Tartuffe marquait son passage de l'expres­ Nosfératu... l'abbé, l'incarnation du Mal; ce réaliste comparable à la donnée moliéresque sionnisme vers un réalisme (qui éclatera avec film méconnu est l'un des plus significatifs (une gouvernante veut mettre la main sur Tabou, dernier film, tourné avec le docu­ de l'œuvre de Friedrich Wilhelm Plumpe, l'argent d'un vieillard qu'elle empoisonne à mentariste Flaherty et la population de Bora- dit Murnau, dans la mesure où il montre petite dose, le petit-fils de celui-ci s'en rend Bora). Dans la partie centrale de Tartuffe, il qu'au niveau métaphysique le Mal est par­ compte et va la piéger) pour, après les scè­ signait ainsi ses dernières prouesses esthéti­ tout. Deux ans après la mort de Murnau, nes de Molière jouées en miroir grossissant, ques de premier maître de l'expressionnisme, un Tartuffe allait être élu par le peuple alle­ conclure, didactique : «depuis ce temps, tous Tartuffe voyant sur la théière d'Elmire le mand sous le nom de Hitler, ^f les hypocrites s'appellent Tartuffe». reflet d'Orgon qui l'observe, déambulations Murnau et Mayer créaient l'une des pre­ d'ombres dans l'escalier, etc. mières expériences de «film dans le film». On a vanté les qualités de peintre de Le prologue et l'épilogue étaient tournés Murnau, sa maîtrise dans l'organisation dans un style moderne avec des acteurs de l'espace, son souci de tous les détails, N ° 1 2 3 24 IMAGES 41 .
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