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John Ford Sont Liés Aux Événements Fondateurs De L'histoire Des États-Unis

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John Ford Sont Liés Aux Événements Fondateurs De L'histoire Des États-Unis Entre les deux films du vendredi le CCB vous invite à un moment convivial dans l’espace réservé à cet effet dans le hall de Monciné. Les 9 et 10 février 2018 Au cours de cette pause,Cécile Gornet* dédicacera son livre paru en juillet 2017 chez Classiques Garnier, dans la collection « Recherches Cinématographiques » dirigée par José à Moure. Le Ciné-club Biterrois vous propose l’événement du trimestre Comme tous les films du genre, les westerns de John Ford sont liés aux événements fondateurs de l'histoire des États-Unis. Mais on ne saurait les réduire à des films historiques. Car c'est moins la trame des événements qu'ils mettent en scène que sa mise en forme. En articulant le présent au passé, en accueillant la contingence et la singularité du réel, en questionnant le rapport entre vérité et illusion, ces films réflé- chissent les enjeux épistémologiques de l'histoire. Cette étude aborde ainsi ces westerns comme des films métahistoriques et analyse les effets de re- doublement que produit, sur l'écriture cinématographique de Ford, cette rencontre avec l'écriture de l'his- toire. John Ford (1894-1973) * Cécile Gornet : professeur de philosophie au lycée Henri IV, prépare une thèse d'études cinématographiques sur John Ford à l'Université Paris 1 Panthéon Sorbonne Le cinéclub biterrois consacre un week-end à cet immense cinéaste, né presqu'en même temps que le cinéma, auteur d'une filmo- Ce week-end sera prolongé par une séance d'analyse graphie gigantesque au cours de laquelle il rencontre presque tous les filmique à la MJC le jeudi 15 février à 18h30 Nous nous pencherons plus particulièrement sur certains aspects de son cinéma comme la place des genres et passe de la production de studio à la production indépen- femmes ou des Indiens ; et nous essaierons d'analyser l'influence qu'il a pu exercer sur d'autres cinéastes, dante. en particulier Elia Kazan. * Tarifs: Pas de supplément pour les adhérents à l’année, sinon possibilité de carte 4 entrées ( 25€) ou à la place (6€ ) vendredi 09/02/2018 à 16h30 John Ford (1894-1973) The Quiet Man (L’Homme tranquille) 1952 John Wayne, Maureen O’Hara, Barry Fitzgerald, Ward Bond, Victor McLaglen, Mildred Natwick Scénario : Frank Nugent, d’après The Green Rushes, une nouvelle de Maurice Walsh parue en 1935 Sa carrière cinématographique est exceptionnellement longue : de ses débuts à Hollywood au temps Photographie : Winton C. Hoch et Archie Stout (seconde équipe) du muet avec The Tornado en 1917 jusqu'à Seven Women (Frontière chinoise) en 1966, alors que le cinéma Production : Argosy Pictures est bien installé dans ce qu'il est convenu d'appeler sa modernité. DistributionRepublic Pictures Oscar du meilleur réalisateur Oscar de la meilleure photographie Il traverse l'histoire du cinéma et la manière dont elle se lie à la grande histoire. D'une part, pendant vendredi 09/02/2018 à 20h15 la seconde Guerre Mondiale, il fonde et dirige la Naval Field Photographic Unit qui fait oeuvre de documen- (Qu’elle était verte ma vallée ) 1941 tation, qu'il s'agisse des combats ou de la libération des camps : on pense notamment à The Battle of Mid- How Green Was My Valley way et December 7th, deux documentaires récompensés par des Oscars en 1941 et 1942 et à la constitu- Walter Pidgeon, Maureen O'Hara, Anna Lee, Donald Crisp, Roddy McDowall tion ’d une grande partie des preuves utilisées lors des procès de Nuremberg. D'autre part, il est incontesta- Scénario : Philip Dunne d'après le roman de Richard Llewellyn paru en 1939 Photographie : Arthur C. Miller blement l’un des pères fondateurs de ce genre historique par excellence qu'est le western. Production et distribution : Twentieth Century Fox Oscar du meilleur réalisateur Oscar du meilleur film Il est à ce jour le réalisateur le plus « oscarisé » : The Informer (Le Mouchard) en 1935, The Grapes of Wrath (Les Raisins de la colère) en 1940, How Green Was My Valley (Qu’elle était verte ma vallée) en 1941 Deux films qui exaltent les origines européennes de Ford (à travers le Pays de Galle pour l’un, à travers l’Irlande de et The Quiet Man (L’Homme tranquille) en 1952. Sa fidélité à sa troupe d'acteurs et à son équipe de techni- ses parents pour l’autre), deux films qui montrent la dialectique du lien et de la tension qui se joue dans la communauté ciens est légendaire, au point qu'on parle de la « John Ford Stock Company » pour désigner cette grande et la famille, deux films qui accordent une place éminente aux femmes, deux films qui manient avec subtilité la pratique famille dont font partie John Wayne, Mae Marsh, Ward Bond, Jane Darwell, Jack Pennick, Anna Lee, Henri shakespearienne du contrepoint entre drame et comédie, etc. Fonda, Russell Simpson par exemple, ainsi que les chefs opérateurs Winton C. Hoch ou Bert Glennon, les Et pourtant, l’investissement de Ford dans leur préparation est très différent. D’un côté, How Green Was My Valley, film emblématique du Ford cinéaste de la Fox, tourné d’après un scénario reçu au dernier moment ; et de l’autre, The Quiet scénaristes Dudley Nichols ou Frank Nugent, le monteur Jack Murray, etc. Man, film emblématique du Ford indépendant, qui achète les droits d’une nouvelle, choisit le scénariste et accompagne La puissance de sa mise en scène force l’admiration des autres cinéastes : « John Ford, John Ford et son travail, et produit lui-même le film. John Ford », disait Orson Welles lorsqu’on lui demandait quels étaient les réalisateurs les plus importants à Et dans les deux cas, l’Oscar du meilleur réalisateur ! ses yeux. Et elle ne cesse de faire couler l’encre des critiques et des historiens du cinéma, ce qui contraste samedi 10/02/2018 à 11h de manière saisissante avec son laconisme notoire. Aux journalistes français lui demandant ingénument comment il est arrivé à Hollywood, il répond sèchement : « par le train ! ». Et lorsqu’on l’interroge sur sa Bucking Broadway (À l'assaut du boulevard) 1917 pratique de cinéaste, il préfère se taire : « Malgré l’amour que j’ai pour mon métier, je déteste l’analyser. En parler me donnerait l’impression de n’avoir rien fait. » Harry Carey, Molly Malone, L. M. Wells Scénario : George Hively Photographie : John W. Brown et Ben F. Reynolds Production et distribution : Universal Film Manufacturing Company samedi 10/02/2018 à 14h (La Prisonnière du désert) 1956 The Searchers John Wayne, Jeffrey Hunter, Vera Miles, Olive Carey, Natalie Wood, Henry Brandon Scénario : Frank Nugent, d'après le roman d'Alan Le May paru en 1954 Photographie : Winton C. Hoch, Alfred Gilks (seconde équipe) Production : Merian C. Cooper, Patrick Ford et C. W. Whitney Distribution: Warner Bros. Pictures Deux westerns. Deux occasions de comprendre pourquoi John Ford se présenta ainsi devant ses collègues réalisa- teurs en 1950 : « My name is John Ford. I make westerns. » D’un côté, un des premiers films de Ford, longtemps perdu (comme le sont encore la quasi totalité de ses films muets) ; un des nombreux films tournés avec son acteur fétiche Harry Carey. De l’autre côté, le chef-d’œuvre de 1956, en Techni- color et Vistavision, dans lequel John Wayne, élevé au rang de star par Ford depuis Stagecoach (La Chevauchée fantas- tique, 1939) crève l'écran. D’un côté, un film pionnier quant à la filmographie immense dont il n’est encore que l’esquisse et le balbutiement mala- droits. De l’autre côté, un film mature et sublime, que Ford qualifiait laconiquement de « just a western » et que les jeunes rebelles du Nouvel Hollywood érigent en modèle et ne cessent de citer. .
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