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The Wild Bunch Martin Girard Document generated on 09/25/2021 9:55 p.m. Séquences La revue de cinéma The Wild Bunch Martin Girard Vidéo : des images pour tous Number 177, March–April 1995 URI: https://id.erudit.org/iderudit/49690ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Girard, M. (1995). The Wild Bunch. Séquences, (177), 45–48. Tous droits réservés © La revue Séquences Inc., 1995 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/ R e u p r e s s e 1919< THE «JE vouUis Aussi MONTRER pu'il LE CABINET DU DOCTEUR CALIGARI y A TOUJOURS (JAINS LA QUERRE, IA Vision du .réel déformée selon les normes VÎOIENCE, l'IlORREUR, UN MOMENT subjectives de l'artiste, transformation du décor pour créer une nouvelle atmos­ (J'ÉTRANqE bEAUTÉ À IAPUEIIE ON phère, instauration d'un univers «autre», EST SENSible, pAR EXEMplE (IEVANT proche de l'hallucination, retour en force du romantisme, lié à l'angoisse tragique de lES pEÎNTURES (IE bATAÎllE.» notre temps: c'est l'expressionnisme. Ce qui donna au cinéma allemand sa place (SAM PEckiNpAri À pRopos (JE importante pendant les premières années de l'après-guerre, ce furent justement ces Thi Wild BuNch) INCH filmS où se combinaient les théories mo­ dernes et l'ancien goût «hoffmanesque» de l'Allemagne pour la terreur. C'est ainsi que les Allemands n'hésitèrent pas à peupler leur cinéma de scénarios morbides, de revenants, de vampires, de châteaux han­ Emilio Fernandez et Jaime Sanchez tés et de monstres avec une louable cons­ e succès récent de films comme Pulp Fiction, tance. Le Cabinet du docteur Caligari Natural Born Killers et C'est arrivé près de de Robert Wiene restera à tout jamais le L chez vous a relancé plus que jamais le sempi­ chef-d'œuvre de cette époque. Cette his­ ternel débat sut la violence au cinéma. Ot, les argu- toire de somnambule exhibé par un ments demeurent toujours les mêmes, tant du côté étrange docteur parmi les attractions d'un des détracteurs de la violence filmique que du côté champ de foire, de disparitions mystérieu­ des cinéphiles plus tolérants. Ce débat souvent stérile ses, de personnages qui perdent la raison, a connu récemment un nouveau rebondissement avec frappa durablement les spectateurs. Le la réédition du film de Sam Peckinpah, The Wild personnage du docteur fou, constante de Bunch (La Horde sauvage, 1969). Il faut d'abord la littérature populaire, deviendra, à partir expliquer qu'à l'époque de sa sortie, ce westetn avait de Caligari, un cliché de cinéma. .Mais c'est surtout l'étrangeté des décors (toiles été amputé de plusieurs scènes par le producteur Phil peintes agressivement, rues en zigzag, Feldman qui considérait l'ensemble un peu trop long. perspectives déformées), le maquillage vio­ Il faut également préciser tout de suite qu'aucune des lemment stylisé des acteurs et la construc­ scènes retranchées au montage original ne l'a été pour tion éclatée du récit qui permirent à l'ange e cause de violence excessive. Pour célébrer le 25 anni­ noir du bizarre d'étendre son aile sur He versaire du film, le disttibuteut Warner Bros, en a fait cinéma allemand jusqu'à la veille du par­ tirer de nouvelles copies en y replaçant les scènes cou­ lant, aussi bien chez les maîtres (Murnau, pées à sa sortie, soit l'équivalant d'à peu près dix Lang) que dans la production allemande. minutes. Warner a ensuite soumis cette copie au bu­ L'avènement d'Hitler mettra un terme à reau de sutveillance de la Motion Picture Association cette expression d'«art décadent». of America afin d'obtenit le classement requis pour l'exploitation. Ot, à la grande surprise du distributeur, les censeurs américains ont classé le film NC-17, la nouvelle appellation de l'ancien «X rated». Ot, aucun grand studio américain n'accepte de distribuer un film avec ce classement, car plusieurs chaînes de No 177 — Mars/avril 1995 45 moyens? Avez-vous considéré les effets s que pourrait gné, je suis surtout déconcerté par la façon dont les A relire aujourd'hui les provoquet ur le public une pareille utilisation de la cinéastes aujourd'hui traitent leur film et le public. violence dans un film?» (...) Le producteur Phil Feldman a déclaré que les critiques de l'époque, on Phil Feldman: «La vérité n'est pas toujouts belle à coupures n'avaient rien à voir avec les critiques au voir; mourir n'a rien de joli. L'industrie du cinéma a sujet de la violence du film. Les deux extraordinaires réalise jusqu'à quel point le droit et le devoir de décrire la réalité telle qu'elle séquences de bataille n'ont d'ailleurs pas été touchées. The Wild Bunch a repoussé est. Si le public réagit contre cette réalité, cela peut Les coupures serviraient plutôt à accélétet le rythme s'avérer thérapeutique.» du film, à en améliorer "l'esthétique" et peut-êtte les limites d'une certaine Stuart Byron (Variety): «Quel est le message de (Feldman n'avait pas l'ait trop sût) raccourcir la duré votre film? Pourquoi toute cette violence?» du film afin d'ajoutet une représentation pat jour. Le représentation de la violence Sam Peckinpah (réalisateut): «Je n'ai tien à dire. fait est, a-t-il dit, que nous avions envisagé ces coupu­ Le film parle pour lui-même.» res il y a longtemps, mais nous n'avions pas eu le au cinéma. Rex Reed (Holliday): «Alors pourquoi donner temps de les faire avant lavant-première new- cette conférence de presse?» yorkaise. Or, si nous avions eu le temps de faire les Sam Peckinpah: «C'est une bonne question.» coupures, vous n'auriez pas vu les scènes en question cinéma les rejettent et plusieurs journaux refusent Voix non identifiée: «Je crois que nous avons le et vous ne vous seriez jamais plaint de leur absence."» d'en faire la publicité. Warner Bros, était catastrophé, droit de savoit si M. Peckinpah prend plaisir à mon­ L'absurdité de ce dernier argument démontre bien car 25 ans plus tôt, le film de Peckinpah avait obtenu trer toute cette violence?» la désinvolture du producteut dans cette affaire, à le classement souhaité, c'est-à-dite R. Finalement, le Sam Peckinpah: «Très bien, je pense qu'elle pour­ tout le moins sur le plan des considérations artisti­ distributeur s'est souvenu que cette vetsion longue du rait avoir un effet cathartique. Non, je n'aime pas la ques. C'est d'autant plus gênant que le film de western avait déjà été soumise à la censure en 1969 et violence. En fait, quand je regarde le film, je le trouve Peckinpah est pris très au sérieux par la critique. En avait alors obtenu le classement R! Avisé de ce fait, le insupportable. Je crois que je ne pourrai pas le revoir fait, plusieuts d'entre eux à l'époque parlent déjà de bureau de censure américain a révisé son jugement avant cinq ans.» «classique» et de «chef-d'œuvre». Ce qui n'empêche pour finalement accorder à The Wild Bunch le clas­ Phil Feldman: «Ce n'est pas sement voulu. le seul sujet qui nous intéresse. Cette histoire farfelue et triste à la fois démontre Le prochain film que nous fe­ bien que le film de Peckinpah n'a rien perdu de son rons ensemble, Sam et moi, seta impact otiginal. 25 ans après sa sortie, il semble avoir une comédie.» encore le potentiel de choquer le spectateur avec sa Rex Reed: «J'ai vtaiment violence brute et spectaculaire. Mais qu'en fut-il au hâte de le tatet.» juste en 1969? À relire aujourd'hui les critiques de Roger Ebert (Chicago Tri­ l'époque, on réalise jusqu'à quel point The Wild bune): «Je suppose que vous êtes Bunch a repoussé les limites d'une certaine représen­ sous l'impression que votre film tation de la violence au cinéma. N'oublions pas que n'a aucun défenseur. C'est faux. quelques années plus tôt, dans ses premiers westerns, Plusieurs d'entre nous pensons Sergio Leone n'osait pas encore montrer du sang lors que The Wild Bunch est un des fusillades, laissant ses acteurs «faire le mort» sans grand film. Un chef-d'œuvre.» maquillage ou effets spéciaux. Alors imaginez l'effet Avant même sa sortie, donc, qu'a pu avoit, chez les spectateurs de 1969, la vue du le western de Peckinpah soulève sang qui gicle et de la chair qui éclate au ralenti dans la controverse parmi la critique. des dizaines de plans de The Wild Bunch! Le film prend l'affiche au début En fait, les réactions ne se sont pas fait attendre. de juillet dans une version Le film de Peckinpah est présenté pour la première écourtée de quelques minutes. fois à la presse le 21 juin 1969 lors d'une avant- C'est le producteur Phil Feld­ Ben Johnson et Warren Oates première. Voici un exttait de la conférence de presse man qui avait ordonné ces cou­ qui a suivi la projection: pures. Vincent Canby du New York Times se montre pas certains de se poser des questions quant à la va­ Virginia Kelly (Reader's Digest): «Je n'ai qu'une patticulièrement outré par cette décision dans un at- lidité de la violence.
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