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Jean-Luc Godard, Les Années 60 - Stéphane Valdenaire, Ville De Saint-Louis

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Jean-Luc Godard, Les Années 60 - Stéphane Valdenaire, Ville De Saint-Louis Jean-Luc Godard, les années 60 - Stéphane Valdenaire, ville de Saint-Louis . Pour commencer, un générique, l’un des plus beaux de l’histoire, ici. Puis il faut prendre la mesure de cette décennie. En histoire, le 19e siècle s’arrête en 1914. Chez JLG, les années soixante commencent avec À bout de souffle (1959-60) et finissent avec Tout va bien (1972). Les mots d’amour de Tout va bien vous rappellent quelque chose ? Le début du Mépris, bien sûr, en plus grinçant (où il est encore question d’anatomie). Ce cinéma se cite et se prolonge volontiers… . Autre mesure : la diversité des films. La même année, 1963, que le Mépris, grosse production, JLG sort Les carabiniers, petite production rageuse qui ne lui vaudra pas la même admiration. Pendant toute cette période, JLG utilise au mieux les ressources très variables de ses producteurs (français, italiens, américains), tournant beaucoup, vite et souvent bien. Entrée en scène des Personnages : À bout de souffle dépeint un héros solitaire, tout comme le deuxième film tourné, le Petit soldat, en pleine guerre d’Algérie. Un héros à l’idéologie ambiguë, individualiste avant tout. À moins que ce ne soit le héros type du film noir, qui parcourra toute la décennie en passant aussi par Alphaville (1965, mêlé à la science-fiction) et Made in USA (1966). Mais les films de JLG sont aussi des portraits de femme. En écho aux solitaires masculins, l’héroïne de Vivre sa vie (1962), ou encore celle d’Une femme mariée. Cette dernière femme ne paraît pas complète, mais fragmentée, comme dans les publicités qui surgissent. JLG s’interroge sur la personnalité de ses héroïnes, comme dans la fin de la séquence de Masculin/féminin (1966). Une jeune fille de 1966 est-elle libre ? . Politique : quels autres films de fiction de l’époque citeraient, comme dans ce dernier extrait, De Gaulle ou Mitterrand (élection présidentielle l’année précédente) ? Les films de JLG parlent tous de leur temps, avec franchise. Certains l’ont même devancé… Guerre d’Algérie pour Le petit soldat (sorti en 1963 seulement, car censuré. Et Jean-Marie Le Pen avait demandé l’expulsion de France du réalisateur). Guerre en général, dans les Carabiniers. Puis ce sera la guerre du Vietnam, évoquée dès Pierrot le fou, en 1965, sur un mode tragi-comique. Elle reviendra dans les films suivants, notamment dans la Chinoise (1967). Théâtral, Godard ? Jouant avec la distanciation, en tout état de cause. Quand il livre une comédie musicale, la grâce alterne avec l’ironie : Une femme est une femme (1960-61). Quelques années plus tard, le célèbre madison de Bande à part (1964) débouche sur une des premières voix off discursives de Godard, où il laisse entrevoir tout ce qui ne se voit pas mais peut se dire. La philosophie l’intéresse depuis toujours, et il n’hésite pas à l’importer ouvertement dans certaines séquences : la vérité selon Anna Karina et Jean-Paul Belmondo dans Une femme est une femme, ou encore des dialogues avec des philosophes qui jouent quasiment leur propre rôle dans Vivre sa vie (avec Brice Parain) ou dans la Chinoise (avec Francis Jeanson). Ce sont des exemples des nombreuses séquences autonomes, films dans le film, qui parsèment les films de JLG. Le réalisateur peut faire une place à une sorte de slapstick dans les Carabiniers, une séquence comico-mélancolique avec Raymond Devos dans Pierrot le Fou mais aussi (déjà, vingt ans avant les grands films collages des années 80) à des citations pures comme celle de Capitale de la douleur d’Éluard dans Alphaville, ou un morceau de Mozart joué comme au concert dans Week-end. Il va jusqu’à étirer la genèse d’un morceau des Rolling Stones sur le temps d’un long métrage (One plus one, 1968). Arts : JLG a aussi peuplé de statues grecques le Mépris, de tableaux de Renoir, Matisse, Picasso, Vélasquez et les Pieds nickelés Pierrot le fou, tout en proposant une histoire frondeuse et pressée de la peinture dans Bande à part , tourné à la sauvette au Louvre. En marge de ces expérimentations, des miniatures parodiques dont le ton doux-amer convient bien à sa vision du couple, par exemple dans Pierrot le Fou (1965) (noter ici la fluidité de la mise en scène, avec une de ces belles scènes de couple en intérieur dont Godard a le secret). Depuis le début, l’amour est un sujet sérieux. Il peut être amour fou et lyrique (Pierrot le fou encore), un amour timide et maladroit comme chez Jean-Pierre Léaud dans Masculin/féminin, un amour hypothétique et aliéné comme dans Deux ou trois choses que je sais d’elle (1967). La relation homme-femme est donc aussi une question politique, et ce film annonce toute l’œuvre de la fin de la décennie chez JLG. À ce film sur la France de 1967 succéderont La chinoise, de 1967, mais déjà en pleine réflexion sur 1968. Rien de Godard, ensuite ? Au contraire : s’il est discret pendant les manifestations, toutes les œuvres suivantes dérivent des événements de mai, qu’elles sortent nationalement ou restent confidentielles (Godard pense arrêter le cinéma traditionnel après Week-end. Le « plus long travelling de l’histoire du cinéma » mène donc non pas à l’embouteillage, mais aux chemins de traverse) : Le gai savoir (1968), British sounds (1969), Un film comme les autres (1968). JLG remet aussi en question la manière de concevoir l’auteur, puisqu’il commence à travailler en groupe, avec Jean-Henri Roger et avec Jean-Pierre Gorin au sein du groupe Dziga Vertov. En sortent par exemple Vladimir et Rosa (1971, avec une auto-parodie de Suisse romand), et même un film qui intégra sa propre assemblée générale en plein tournage, le célèbre et chaotique Le Vent d’Est (1969) qui réunissait aussi Daniel Cohn-Bendit et Gian Maria Volonté. Et l’on revient ainsi à Tout va bien (1972), au titre ironique. Après cela, JLG change de lieu (Grenoble), de technique (la vidéo), pour d’autres films passionnants, et reviendra au cinéma de fiction à la fin des années 1970. Pour finir, trois liens complémentaires : - L’un des premiers courts métrages de Jean-Luc Godard, en intégralité, Tous les garçons s’appellent Patrick (1957). - Un condensé qui montre que Godard inspire les artistes : une compression du cinéaste Gérard Courant qui présente quinze films de Godard en moins d’une heure, et sans un plan manquant : de quoi identifier rapidement un style inimitable. - Une explication de ses méthodes de tournage par Godard lui-même, en pleine bande annonce d’Une femme est une femme. NB : Cette conférence aurait dû se tenir au Caveau du Café littéraire le mardi 31 mars 2020. .
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