RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et

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RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et Direction de la communication DOSSIER DE PRESSE VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE et www.centrepompidou.fr VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) DDirection sommaire de la communication 75 191 Paris cedex 04 responsable du pôle presse I. COMMUNIQUE DE PRESSE page 2 Carole Rio-Latarjet chargée des relations presse Albane Jouis-Maucherat II. VOUS AVEZ DIT « BOLLYWOOD » ! page 4 téléphone par Nadine Tarbouriech 00 33 (0)1 44 78 13 81 télécopie III PROGRAMMATION ET SYNOPSIS DES FILMS page 6 00 33 (0)1 44 78 13 02 mél IV. CALENDRIER DES PROJECTIONS page 29 albane.jouis-maucherat @cnac-gp.fr V. RENCONTRE ORGANISEE PAR LES FORUMS DE SOCIETE La « résistance » de Bollywood ? page 38 VI. EVENEMENTS AUTOUR DE LA MANIFESTATION page 40 VII. LISTE DES PHOTOS DISPONIBLES POUR LA PRESSE page 48 VIII. REMERCIEMENTS page 52 IX. INFORMATIONS PRATIQUES page 53 VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) Direction Pour la première fois en France, une grande rétrospective consacrée à la cinématographie de la communication indienne populaire est proposée par les Cinémas du Centre Pompidou. 75 191 Paris cedex 04 responsable du pôle presse er Carole Rio-Latarjet Pensée en deux temps, la manifestation rend d’abord hommage, du 4 février au 1 mars 2004, chargée des relations presse aux auteurs des grands classiques en noir et blanc des années 50 considérées comme l’âge Albane Jouis-Maucherat d’or des studios indiens : Guru Dutt, Raj Kapoor, Bimal Roy, Mehboob Khan, V. Shantaram. téléphone 00 33 (0)1 44 78 13 81 Du 17 mars au 19 avril 2004, la seconde partie de la rétrospective, présentée selon des télécopie 00 33 (0)1 44 78 13 02 thématiques telles que « Sacré, Art, Histoire : aux origines du cinéma indien », « Du côté mél des femmes », « Family Business » ou « Hors-la-loi », propose un panorama de films allant albane.jouis-maucherat des années 30 jusqu’aux tout derniers « blockbusters ». @cnac-gp.fr 47 films, inédits pour la plupart, seront présentés à cette occasion, dont les célèbres programmation cinématographique « Shree 420 » (« Monsieur 420 », Raj Kapoor, 1955), « Mother India » (Mehboob Khan, 1957), « Pyaasa » (« L’Assoiffé », Guru Dutt, 1957), « Pakeezah » (Kamal Amrohi, 1972), « Sholay » Nadine Tarbouriech, (« Les Flammes du soleil », Ramesh Sippy, 1975), « Lagaan » (Ashutosh Gowariker, 2001), chargée de mission et bien d’autres encore. Sylvie Pras, responsable des Cinémas Au-delà des symboles récurrents, déchirements familiaux, amours contrariées, combats au Centre Pompidou sociaux et politiques, ou épopées mythologiques sur fond d’enluminures, cette rétrospective s’attache à révéler toute la richesse d’un cinéma indien populaire trop souvent dévalorisé, assistée de et souligne les préoccupations sous-jacentes d’une nation et d’une société marquées par la Judith Revault d’Allonnes confrontation de la tradition et de la modernité. La première partie de la rétrospective sera inaugurée le mardi 3 février 2004 à 19h30 avec la projection de « Aag »(Le Feu), de Raj Kapoor, en cinéma 1. L’inauguration du second volet aura lieu le mardi 16 mars 2004 à 19h30. Le film « Dil Se », de Mani Ratnam, présenté par l’actrice principale Manisha Koirala, sera projeté à cette occasion (cinéma 1). Soirées sur invitation uniquement. page 3 SÉANCE SPÉCIALE MERCREDI 17 MARS 20 H, CINEMA 1 ( NIVEAU 1) « Company », de Ram Gopal Varma, présenté par les acteurs principaux: Manisha Koirala et Vivek Oberoi (sous réserve) Cette rétrospective a été organisée en partenariat avec : the Indian Ministry of Information and Broadcasting, the Indian Ministry of External Affairs, the National Film Archive of India, the Directorate of Film Festivals, the National Film Development Corporation, l’Ambassade de l’Inde en France, l’Ambassade de France en Inde et Paris Première. Avec le soutien d’Air France, Champagne Pommery et de l’hôtel Park Hyatt Paris-Vendôme page 4 2. VOUS AVEZ DIT « BOLLYWOOD » ! par Nadine Tarbouriech, chargée de mission En 1983 et 1985, le Centre Pompidou rendait hommage à l’ensemble de la cinématographie indienne et à ses stars. Vingt ans plus tard, en France, un nouvel intérêt semble se dessiner autour de cette cinématographie, avec une curiosité toute particulière pour son cinéma dit « Bollywood ». Le succès du film Lagaan, distribué au cours de l’année 2002, relayé par celui de Devdas, pour lequel le Festival de Cannes organisait une projection spéciale, et dernièrement la nomination de la star Aishwarya Rai comme membre du Jury de ce même festival en 2003 en attestent. C’est au cœur de cette actualité que le Centre Pompidou présente de février à avril 2004 une rétrospective « Bollywood », célébrant ainsi les grandes œuvres, les pièces maîtresses de ce cinéma des années 30 à nos jours. Si le mot « Bollywood », couramment employé à l’étranger aujourd’hui pour désigner les grands mélodrames du cinéma populaire indien avec leurs codes spécifiques (danses, chants et musiques), semble évoquer le désir d’un cinéma- spectacle, miroir de Hollywood, il convient alors de lever les ambiguïtés, d’en révéler enfin toute la richesse et la diversité. C’est à l’origine même du spectacle vivant et de la tradition orale en Inde qu’il faut remonter pour saisir pleinement les bases sur lesquelles ce cinéma s’est constitué, parallèlement au nôtre, dès sa naissance. Vient alors l’image des conteurs qui, sur les places publiques, dans les palais ou les écoles, parcouraient le pays, récitant, rejouant les innombrables épisodes des textes fondateurs, du Mahabharata, du Ramayana, etc... Ils rythmaient ainsi des heures durant ces histoires mythiques, prenant un instrument de musique, interprétant les chants ou poèmes chantés que l’auteur avait parfois lui-même consignés dans son récit. En Inde, le cinéma est venu s’inscrire dans le prolongement de cette tradition, faisant appel aux poètes, musiciens et chorégraphes, à la recherche d’un spectacle complet. Les studios se sont peu à peu développés dans tout le pays, de Bombay à Madras, en passant par Calcutta et Trivandrum, rivalisant par le nombre et la qualité de leurs productions. Décors des mille et une nuits, enluminures, armées de figurants, cohortes d’éléphants, effets spéciaux, castings mémorables de stars qui s’élèvent aussitôt au rang de demi-dieux, musiques et chants repris en chœur dans tout le pays : sont réunis tous les ingrédients d’une féerie qui embrase les foules et les transporte dans le monde merveilleux de l’imaginaire, bien au-delà de l’âpreté de leur quotidien. page 5 Certes, l’énorme volume de production de cette industrie (qui dispute la première place aux États-Unis) ne comporte pas que des joyaux, mais les grandes œuvres de ce cinéma traditionnel populaire sont devenues des classiques (certains films sont restés plus de 100 semaines à l’affiche). Elles ont su, au fil du temps, à la fois faire rêver un large public et convaincre bien des cinéphiles par leur originalité. Si les thèmes abordés se répètent souvent, déchirements familiaux, amours contrariées, combats sociaux ou politiques, fresques historiques, épopées mythologiques, les scénarii ne répondent pas seulement à l’attente du public, ils sont parfois plus complexes, offrent plusieurs niveaux de lecture et reflètent les questionnements profonds de la naissance et de l’évolution d’une nation encore toute jeune. Une société indienne où tradition et modernité se confrontent. Cette rétrospective entend donc faire la lumière sur les faces cachées du mot « Bollywood », à la découverte des films et des cinéastes qui aujourd’hui encore font rêver, chanter, danser et penser des millions de spectateurs. Elle s’organise en deux temps. Une première partie rend hommage à cinq maîtres de l’âge d’or du cinéma indien populaire des années 50. Une deuxième partie établit, de façon thématique, des ponts entre différentes époques et met en parallèle les diverses industries régionales des années 30 à nos jours. page 6 3. PROGRAMMATION CINEMATOGRAPHIQUE a. SYNOPSIS DES FILMS 1ERE PARTIE : HOMMAGES du 4 février au 1er mars GURU DUTT L’un des plus talentueux metteurs en scène du cinéma indien, Guru Dutt est aussi son propre producteur et l’acteur clef de ses films. Il innove aussi bien par la poésie du noir et blanc que par l’intégration des chansons dans la narration, renouvelant durablement le vocabulaire du cinéma commercial indien. Après plusieurs comédies, dont le délicieux Mr & Mrs’55 (M & Mme’55), il donne le meilleur de lui-même avec Pyaasa (L’Assoifé), en 1957, œuvre d’une grande profondeur poétique, immense succès qui lui valut la reconnaissance de la critique et du public. Auteur inquiet, voire tourmenté – racontant par exemple dans Kaagaz Ke Phool (Fleurs de papier) l’ascension et la déchéance d’un grand cinéaste – Guru Dutt ajoute à ses films une poésie mélancolique et infiniment personnelle. KAAGAZ KE PHOOL Fleurs de papier de Guru Dutt Inde / 1959 / 153’ / nb / hindi avec Guru Dutt / Waheeda Rehman / Johnny Walker / Baby Naaz / Mahesh Kaul / Veena / musique S.D. Burman / playback Asha Bhosle / Geeta Dutt / Mohammed Rafi Un cinéaste devenu clochard retourne un soir dans le studio où il a vécu ses heures de gloire. Grandeur et décadence d’un homme déchiré entre ses sentiments paternels et son amour pour une actrice qu’il a transformée en star. En toile de fond, l’âge d’or des studios de cinéma indiens. Répertorié comme le premier film indien en cinémascope. Un film très autobiographique et prémonitoire. DIMANCHE 8 FÉVRIER - 17 H VENDREDI 13 FÉVRIER – 20 H SAMEDI 28 FÉVRIER – 14 H MR & MRS’55 M & Mme ‘55 de Guru Dutt Inde / 1955 / 157’ / nb / hindi avec Guru Dutt / Madhubala / Lalita Pawar / Johnny Walker / Yasmin Kumkum / musique O.P.
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