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Sammy and Rosie Get Laid Yves Lafontaine Document generated on 09/25/2021 4:36 a.m. 24 images Sammy and Rosie Get Laid Yves Lafontaine Number 37, 1988 URI: https://id.erudit.org/iderudit/22302ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Lafontaine, Y. (1988). Review of [Sammy and Rosie Get Laid]. 24 images, (37), 61–61. Tous droits réservés © 24 images inc., 1988 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/ SAMMY AND ROSIE GET LAID Yves Lafontaine ammy et Rosie s'envoient en l'air. Et même plusieurs fois. Mais pas né­ cessairement ensemble. Sammy est un jeune comptable londonien d'ori­ gine pakistanaise. Sa femme, Rosie, Sest anglaise. C'est une écrivains de gauche et une travailleuse sociale. Ils for­ ment un couple moderne, libre, qui s'aime, Catherine Deneuve enquête dans Agent Trouble tout en entretenant une relation extra­ conjugale chacun de leur côté. Au cours subversion implique par définition le boule­ viennent nourrir le drame. La musique d'une émeute faisant rage autour de leur versement des valeurs et des idées du «hollywoodienne» de Gabriel Yared et la appartement londonien, Rafi, le père de spectacle dominant. En athée impénitent, présence de William Lubtchansky à la lu­ Sammy, ex-ministre pakistanais, débarque mais néanmoins respectueux des mière et au cadrage confèrent au film une chez eux. Dès son arrivée il est sidéré croyances, Mocky dénonce certes l'usage esthétique de la dramatisation qui fait sou­ par cette Angleterre qu'il ne reconnaît plus que certains êtres de peu de foi font de vent défaut aux œuvres d'un Mocky réputé comme le modèle de l'ordre et de la civili­ la religion et de son cortège de déviances. pour filmer en état d'urgence. Tout en sation qu'il a connu. Mais, en ne s'attaquant pas directement obéissant aux règles élémentaires du sus­ aux causes de l'aliénation collective qu'il pense, la mise en scène d'Agent trouble Délaissant la simplicité et la rigueur de My met en scène, le cinéaste ramène le blas­ ne saurait cependant prétendre à la ri­ Beautiful Laundrette mais reprenant le phème iconoclaste au niveau de la saine gueur diabolique des œuvres hitchcoc- ton irrévérencieux et provocateur de Prick satire jubilatoire. Entreprise louable en soi kiennes, où il n'était jamais permis à la Up Your Ears, Stephen Frears (Gumshoe, si la piètre exploitation des situations (sé­ banalité de s'installer à l'écran. Dans les The Hit), l'enfant terrible du cinéma «bri- quence du tribunal populaire par exemple) dernières séquences du film, Mocky par­ tish», décrit avec éclat et cynisme la muta­ et le relâchement de la mise en scène vient difficilement à maintenir la tension tion sociale de l'Albion d'aujourd'hui. Pour (montage paresseux, découpage sans re­ et à conduire le récit jusqu'à la crête pa­ cette comédie bouillonnante, excitante, au lief, saturation d'éléments de dialogues et roxystique précédant le dénouement. Une rythme endiablé et visuellement très tra­ visuels souvent peu convaincants) ne ve­ fin bâclée et dépourvue de tout impact vaillée, il a renoué sa collaboration avec naient briser la dynamique du rire, qui dramatique ajoute à la frustration du spec­ le scénariste Hanif Kureishi, auteur du scé­ devrait naître de l'acuité du regard posé tateur. Mais, même s'il se referme mala­ nario de My Beautiful Laundrette. Y sont sur l'absurdité du réel. droitement sur l'humanité en sursis qu'il traités, sur fond d'émeutes raciales, les problèmes du chômage et de la complai­ Avec Agent trouble, Jean-Pierre Mocky nous offre en pâture, Agent trouble n'en renforce pas moins la cohérence du par­ sance des nantis, la libération sexuelle, nage dans des eaux troubles dont il maî­ la désillusion amoureuse, la partition de trise beaucoup plus efficacement le flux cours cinématographique de Jean-Pierre Mocky, en scellant une fois de plus la l'Inde et du Pakistan. Malheureusement, souterrain. Partant d'une histoire forte où le film souffre de manque de focus et de des personnages se retrouvent confrontés sulfureuse alliance de la dérision et du tragique. D rigueur. Trop d'éléments sont abordés à une situation mystérieuse, le cinéaste sans être approfondis. s'efforce de «recréer la mécanique et le climat du film à suspense», cher à Hitch­ L'essence du film traduit, sans précision cock. Catherine Deneuve, investie de ni distinction, la responsabilité de la poli­ tique conservatrice de Margaret Thatcher l'aura mythique d'un Cary Grant en ju­ LE MIRACULÉ pons, enquête. Autour d'elle, Mocky met France 1987. Ré: Jean-Pierre Mocky. Scé: Jean- face au racisme, aux sans-abri et à une en scène une insolite galerie de portraits Pierre Mocky, Jean-Claude Romer, Patrick Granier. politique internationale défaillante. (jeune routard écolo, antiquaire trouble au Ph: Marcel Combes. Mus: Jorge Arriagada. Mont: Finalement, on peut regretter que la cri­ Jean-Pierre Mocky, Bénédicte Teiger. Int: Jean Poi­ cœur fragile, fonctionnaire peu catholique, ret, Michel Serrault, Jeanne Moreau, Sylvie Joly, tique sociale du film soit réduite, vers la tueur gay, nymphomane trop curieuse), qui Marc Maury, Sophie Moyse. 90 minutes, couleur. fin, au niveau d'une simple tragédie fami­ compose un univers à la fois farfelu et Dist: France Film. liale. À ce moment, l'œuvre la plus ambi­ inquiétant avec lequel les comédiens sont tieuse de Stephen Frears, Sammy and en parfaite osmose. On ne soulignera ja­ AGENT TROUBLE Rosie Get Laid, apparaît aussi comme mais assez l'amour de Mocky pour les France 1986. Ré: Jean-Pierre Mocky. Scé: Jean- sa plus obscure, ce qui ne lui enlève pas acteurs et le soin particulier qu'il attache Pierre Mocky. Ph: William Lubtchansky. Mont: Bé­ pour autant ses qualités plastiques et hu­ aux seconds rôles. L'hommage qu'il rend nédicte Teiger. Mus: Gabriel Yared. Int: Catherine moristiques évidentes. D Deneuve, Richard Bohringer, Tom Novembre, Domi­ ici à Helena Manson (l'infirmière du Cor­ nique Lavanant, Pierre Arditi, Sylvie Joly, Hélèna beau de G.H. Clouzot), dans le person­ Manson. 90 minutes, couleur. Dist: France Film. nage de la vieille conservatrice de musée acariâtre, renforce la filiation de ce réalisa­ SAMMY AND ROSIE GET LAID teur avec une certaine tradition du cinéma Grande-Bretagne, 1987. Ré: Stephen Frears. Scé: populaire français. Honorablement ficelé, Hanif Hureishi. Ph: Oliver Stapleton. Mus: Stanley Beiley. Int: Shashi Kapoor, Claire Bloom, Ayub Khan le scénario d'Agent trouble se déploie Din, Frances Barber, Roland Gift. 100 minutes, cou­ au gré de multiples rebondissements qui leur. Dist: Norstar. 61 .
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