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Claude Chabrol Henri-Paul Senécal Document généré le 26 sept. 2021 18:46 Séquences La revue de cinéma Flash sur un réalisateur Claude Chabrol Henri-Paul Senécal Nouvelle Vague Numéro 35, janvier 1964 URI : https://id.erudit.org/iderudit/51894ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Senécal, H.-P. (1964). Flash sur un réalisateur : Claude Chabrol. Séquences, (35), 34–36. Tous droits réservés © La revue Séquences Inc., 1964 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/ FLASH SUR UN RÉALISATEUR CLAUDE L Claude Chabrol tournant Landru Henri-Paul Senécal jour. Ses temps libres, il les passe en des palabres interminables au Claude Chabrol est né à Paris, Café de la Comédie avec d'autres le 24 juin 1930, de parents phar­ jeunes mordus du cinéma. On é- maciens. Réfugié pendant la guer­ coute religieusement André Bazin re à Sardent, un village de la Creu- discourir de l'avenir du septième ze, il fonde, à treize ans, le "Ciné­ art. Chabrol assure sa subsistance ma Sardentais" dans le garage fa­ par des articles aux Cahiers du Ci­ milial. Claude ne cessera plus de néma et son travail d'attaché de s'intéresser au cinéma. De retour à presse à la Fox. Critique et journa­ Paris, après la guerre, il préfère l'é­ liste, il ambitionne, comme ses ca­ tude du cinéma aux études en phar­ marades, Truffaut, Rivette, Roh­ macie dont il rate quatre fois les mer, Bitch, de passer derrière la examens de première année. C'est caméra et de devenir metteur en qu'il voit jusqu'à cinq films par scène. Le métier ? La technique ? 34 SÉQUENCES Peu importe. "Tout ce qu'il faut Le triomphe de Chabrol, c'est la savoir pour faire un film, affirme-t- porte largement ouverte au cinéma il avec désinvolture, on peut l'ap­ d'auteur, à la caméra-stylo, aux jeu­ prendre en quatre heures". Son é- nes réalisateurs qui attendaient de rudition lui tiendra lieu de bagage faire du cinéma. Les films désor­ technique. Il y a bien le problème mais ne seront plus élaborés dans de la production, mais Chabrol est les bureaux d'affaires, mais, entre né sous une bonne étoile. Son ma­ copains impécunieux, dans des sal­ riage lui porte bonheur. Un legs du les de restaurants et de cafés. Les grand-père de sa femme lui procu­ producteurs, sidérés par le succès re trente millions de francs. Une de Chabrol que suivra celui de fortune confortable qui assure l'a­ Truffaut, consentiront bon gré mal venir de son foyer. Qu'à cela ne gré à miser sur la Nouvelle Vague. tienne, cette fortune, c'est la possi­ Ce sera le règne des Chabrol, des bilité de réaliser son rêve, de faire Truffaut, des Godard, des Rivette, enfin son premier film. Mais il des Doniol-Volcroze. Ce sera aussi manque huit millions pour couvrir l'époque des premiers-derniers films les frais des laboratoires. Chabrol condamnés à se désagréger dans les joue de bonheur. M. Goutte, son caves de producteurs trop crédules. beau-père, hypothèque tous ses biens. Le cinéma est de nouveau remis Durant l'été '57, Chabrol tourne en question. Les cinéastes chevron­ son film maison. Ce sera Le Beau nés s'interrogent sur le succès inat­ Serge. Avec, comme acteurs, ses co­ tendu de leurs jeunes confrères. Le pains, Jean-Claude Brialy et Gérard cinéma a-t-il cessé d'être une indus­ Blain. Refusé à Cannes, hué à trie pour devenir une aventure in­ Vichy, Le Beau Serge risque d'être tellectuelle ? On est auteur de film, un échec. Le succès viendra de Ge­ comme on est auteur de roman. A- nève où le film est reçu favorable­ vec audace. En toute liberté, au ment. Présenté au Festival de Lo­ mépris des règles habituelles du carno, il obtient le Grand Prix de jeu. la mise en scène. Les distributeurs français se ravisent. Le Beau Serge Les jeunes dieux de la Nouvelle et un second film de Chabrol, Les Vague se veulent lucides, réalistes, Cousins, sortent sur les Champs- anti-conformistes. "Ce qui est inté- Elysées. C'est la consécration de tessant, écrit Chabrol, ce n'est pas Claude Chabrol proclamé Pape de l'intrigue, mais le comportement la Nouvelle Vague. des gens. Montrer les choses, les JANVIER 1964 35 Le Beau Serge, de Claude Chabrol gens, les sentiments, le plus natu­ se scléroser. Elle a influencé le ci- rellement possible". La Nouvelle néma mondial en ouvrant large- Vague sera si naturaliste que ses ment la profession à de nouveaux critiques en viendront à dénoncer prétendants. Si destructeur qu'ait le conformisme de son anti-confor­ pu être son souffle, elle aura per­ misme amoral et immoral. mis l'instauration d'une nouvelle ar­ chitecture cinématographique. Les films de Chabrol qui ont suivi Le Beau Serge et Les Cousins ont été des échecs commerciaux A- vec son dernier film, Landru, Cha­ FILMOGRAPHIE brol est retourné à une conception 1958 : Le Beau Serge plus classique du cinéma. "Le plus Les Cousins important, le plus difficile, avoue-t- 19B9 : A double Tour il, c'est de se faire comprendre." 1960 : Les bonnes Femmes Les Godelureaux 1961 : L'Oeil du malin La Nouvelle Vague, par ses ex­ Les sept Péchés capitaux, cès provocateurs dans la réalisation (L'avarice) et son écriture souvent insolite, au­ 1962 : Ophélia ra empêché le cinéma français de Landru 36 SÉQUENCES .
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