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« Il Arrive Que La Réalité… » Réal La Rochelle Document generated on 09/27/2021 2:36 a.m. 24 images « Il arrive que la réalité… » Réal La Rochelle Number 96, Spring 1999 URI: https://id.erudit.org/iderudit/24919ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article La Rochelle, R. (1999). « Il arrive que la réalité… ». 24 images, (96), 12–13. Tous droits réservés © 24 images, 1999 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/ Giném a en poche «IL ARRIVE QUE LA RÉALITÉ...» PAR RÉAL LA ROCHELLE l arrive que la réalité soit I trop complexe pour la transmission orale. La légende la recrée sous une forme qui lui per­ met de courir le monde». Ce tex­ te, dit par la voix caverneuse et rauque, asthmatique et haletante de l'ordinateur Alpha 60, ouvre le film Alphaville de Jean-Luc Godard. C'est une métaphore lim­ pide du cinéma, dont la réalité des sujets, souvent, nous parvient sous forme de mythe grâce à la magie de l'écriture filmique. Les jeux du hasard et de la Filer la laine et lancer du basculement de la vie ordinai­ des Furies nymphomanes, ac­ chance, dans les récents arrivages la foudre re et placide dans la démence, compagné du «joli» refrain Bring en éditions DVD, permettent de Fuller le traite avec une écriture Back My Bonnie to Me; les réunir quatre titres exemplaires Alphaville est contemporain de d'une violence extrême, tout com­ chocs électriques et l'orage tropi­ qui ont un dénominateur com­ Shock Corridor et de The Naked me la tragédie grecque dévoilait cal dans l'asile; enfin l'insert de mun: faire voir et entendre la Kiss. Ils sont presque jumeaux, les brutalement, par exemple à tra­ ces fantomatiques et belles réalité contemporaine dans les deux premiers surtout, dont les vers le récit millénaire d'Œdipe, séquences en couleur des geishas habits de la science-fiction ou les variations jouent sur le thème de qu'il ne faut jamais dire qu'un au Japon, des sorciers d'Ama­ configurations dramatiques des la folie contemporaine des insti­ homme a été heureux tant qu'il zonie ou d'Afrique, des chutes légendes anciennes. Qu'il s'agis­ tutions, des pouvoirs, des idéolo­ n'a pas vécu son dernier jour. Sans du Niagara. se de deux éblouissants Samuel gies. Comme l'indique Jean-Louis crier gare, les Bacchantes peuvent Fuller comme Shock Corridor et Comolli, dans le numéro spécial s'abattre sur un être humain et le Réalité et mythologies cré­ The Naked Kiss, d'Alphaville «Cinéma américain» des Cahiers détruire. pusculaires s'entredéchirent ici, ou encore de l'hallucinant Video- du cinéma (1963/1964), Fuller dans cette Amérique de la soi- drome de Cronenberg, ces dos­ est le «cinéaste de la foudre», «le Le film de Fuller se cons­ disant prospérité d'après-guerre. siers d'actualité sur le journalisme fin Sam [qui], sûr de ses forces, filetrui t par adjonction de séquences De même dans Alphaville. d'enquête, la prostitution et la sa laine au coin du feu de la folie hallucinatoires: songes inces­ Godard y filme un Paris noctur­ pédophilie, l'envahissement de humaine» (p. 131-132). tueux du journaliste avec sa sœur ne, moderne, mais tel quel figu­ l'informatique et de la télévision danseuse de cabaret; delirium tre­ rant un décor galaxique du troi­ peuvent tous être coiffés de l'épi­ Shock Corridor, en tissant mens d'un obèse gavé d'opéras sième millénaire. Une routinière graphe d'Euripide au fronton de cette histoire d'un journaliste dans (Rossini, Le barbier de Seville) ou aventure de Lemmy Caution (por­ Shock Corridor: «Whom God un asile, feignant la folie afin d'y du Paillasse de Leoncavallo se ter­ traituré par un Eddie Constantine wishes to destroy he first makes élucider un crime, fait basculer la minant par un meurtre {la com­ à la fois familier et méconnaissa­ mad» («Les dieux rendent d'abord conscience et la volonté de cet media è fini ta); grotesque soirée ble) y est développée comme le fous ceux qu'ils veulent anéan­ être créatif peu à peu transformé dansante sous un portrait de parcours d'un déchiffrement de tir»). Quelque part dans sa dyna­ en victime du pouvoir psychia­ Nijinski au mur, pour laquelle le la réalité, où l'extrémisme radical mique moderne, le cinéma d'anti­ trique concentrationnaire. Au mê­ compositeur Paul Dunlap cons­ et assassin a robotisé l'humanité, cipation est encore mû par les me titre que ses compagnons d'in­ truit une partition moderne avec annihilé la poésie d'Eluard et la gènes culturels de la poésie et de fortune le sont devenus du racisme des fragments de musiques mili­ prononciation d'un simple «je- la dramaturgie archaïques. et du militarisme. Ce cauchemar taires; le viol du journaliste par vous-aime». 12 N °96 24 IMAGES _____r*^^ 1 1 './-^jr ^ i <fepi «m _m_4 J t ____W Bs.,.^ WÊi y iP ___^ S "y.*» I • ,_^3 ^fe BLAj-Tr^_fr_l Vie/eodrome, 4* m de David »_s__ Cronenberg, un des films les plus percutants qui soient _? sur la télévision. % ______ \ /vx ï^-O»^ ' *^_H s ii h4 tfffi&L A mB^M. 1 1 Hi i Films ou essais de films truction, les films de Fuller, tout contemporaines. Ainsi ce Video- RÉFÉRENCES comme ceux de Godard, tentent drome, un des films les plus per­ Shock Corridor. États-Unis, Cette quête de la vie simple et du justement de sortir de la formule cutants qui soient sur la télévision Samuel Fuller, 1963. Noir et bonheur dans un univers devenu «des films» pour devenir, suivant et son pouvoir de destruction. blanc et couleur. 101 min. erratique, ou encore dans une cul­ la lumineuse trouvaille de Go­ Machine voluptueuse, sexuelle et Édition DVD, The Criterion ture qui y conduit tout droit, c'est dard, des «essais de films». De la meurtrière, qui devient mutatis Collection, 1998. Écran large. aussi le sujet souterrain de cer fiction à l'essai: c'est Alphaville, mutandis une composante du Comprend la bande-annonce originale du film. émouvant The Naked Kiss. Une tout comme aussi Pierrot le Fou corps humain, prothèse qui vit et prostituée cherche sa réhabilita­ (1965), au début duquel le cinéas­ développe sa logique propre, une The Naked Kiss. États-Unis, tion dans un travail d'infirmière te fait justement intervenir — sorte de finalité sadomasochiste Samuel Fuller, 1964. Noir et blanc. 91 min. Édition DVD, pour enfants handicapés. Tout sem­ belle coïncidence — Sam Fuller dévorant l'homme, le «suicidant» The Criterion Collection, 1998, ble bien aller pour elle, comme en lui-même. «C'est lui qui a trou­ pour lui voler son souffle et son incluant la bande-annonce ori­ témoigne une belle et longue sé­ vé le mot: émotion. Comparer un espace. ginale. Éctan large. quence de chant avec les petits sur film à une opération de comman­ Alphaville. France, Jean-Luc le motif de la comptine Mamie, do est, à tous les points de vue, Comme chez Fuller ou dans Godard, 1965. Noir et blanc. Tell Me.... Mais la tragédie s'abat financier, économique et artisti­ Alphaville, le système «Video- 99 min. Plein éctan format sur cette femme, dont la violence que, la meilleure image, le meil­ drome» est une machine méta­ 1.33:1. Édition DVD, The se réveille et se déploie, et qui assas­ leur symbole de ce qu'est un film phorique, monstre vivant capa­ Criterion Collection, 1998. Sans complément. Vetsion ori­ sine un pédophile avec qui elle dans sa totalité» {Jean-Luc Godard ble de s'installer dans le ventre ginale avec sous-titres anglais était fiancée. Fuller parsème cette par Jean-Luc Godard, Cahiers du ou le cerveau d'un humain trop optionnels. trajectoire chaotique de références cinéma, 1985, p. 268). naïf ou incrédule, occupé qu'il Videodrome. Canada, David à Goethe, à la musique crépuscu­ est à sa quête de bonheur, mais Cronenberg, 1982. Couleur, 89 laire de Beethoven, tout autant La France cinéphile a toujours qui aurait oublié de s'armer min. Écran large. Édition DVD qu'au rêve ridicule et avorté d'une fêté Samuel Fullet. De même contre le plus horrible des mons­ par Universal, 1998. Version Venise aux flots bercés par les mé­ a-t-elle contribué à faire connaî­ tres, lui-même. • intégtale non censutée, avec lodies populaires italiennes incon­ tre le Torontois David Cronen­ compléments sut la réalisation, biogtaphies des artistes et tournables comme Santa Lucia. berg, dont les longs métrages, bande-annonce originale. Choix sous la trame visible du film de sous-titres en fiançais et En juxtaposant ainsi téalisme d'horreur, construisent de remar­ Collaboration à la documentation: en espagnol. et épopées tragiques de la des­ quables et puissantes tragédies Stephan Larouche 24 IMAGES N°96 13 .
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