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Toiles De Jazz #1 le cinéma les cinéastes présente toiles de 7 > 14 mars 2017 jazz cinéma les cinéastes FesTIVAL DU #1 FILM DE JAZZ toiles de jazz festival du film de jazz jazz et cinéma Cinéma et jazz sont tous les deux nés au crépuscule du XIXème siècle. Leurs mutations n’ont jamais cessé de s’entremêler, souvent avec beaucoup de succès. Au début du siècle dernier, les musiciens de jazz occupaient déjà les salles de cinéma pour offrir en direct une bande son aux films muets. Et comme un sourire du destin, le premier film parlant Le Chanteur de Jazz (Alan Crosland, 1927) a choisi la musique de Jelly Roll Morton comme sujet. Dès lors, les mouvances de l’un accompagnent les évolutions de l’autre : vau- deville et jazz New Orleans durant la Belle Époque ; grands orchestres met- tant en lumière un soliste prestigieux à partir des années 1920 ; ère du swing et des comédies musicales ; Seconde Guerre mondiale et révolution Bebop ; Jazz symphonique impulsé par Elmer Bernstein ; cinéma expérimental, Nou- velle Vague et mouvement Free... Nombreux sont les réalisateurs ayant puisé dans le Jazz un supplément de mouvement, une atmosphère ou un esprit propre à une musique qui a créé ses bases en une trentaine d’années, à un rythme délirant. la naissance d’un festival La création, au cinéma Les Cinéastes, de ce Festival consacré à ces deux Arts du Mouvement et du temps prolonge avec cohérence les Mercredis Jaz- zistiques. Il n’est pas question, pour cette première édition, d’être exhaustif – serait-ce possible en une semaine ?! – ni de réduire le prisme à un seul thème, mais plu- tôt de montrer des morceaux choisis d’unions possibles du jazz et du cinéma, tous genres confondus, pour que chacun y trouve son plaisir : de Woody Allen (Stardust Memories) à John Cassavetes (Shadows) en passant par Jean-Luc Godard (À Bout de souffle), Damien Chazelle (Whiplash), Jerzy Skolimowski (Le Départ) ou Frank Cassenti et ses deux documentaires (Archie Shepp & Billie Holiday). Mais avant toute chose, nous voulons vous offrir de beaux films, qui ont tous pour trait commun d’être portés par une couleur musicale singulière : le Jazz. Malo Guislain Promotion et développement socio-culturel au cinéma Les Cinéastes les temps forts SOIRÉE D’OUVERTURE mardi 7 mars / 20h00 PAUL ROGERS/PIERRICK LEFRANC DUo concert jazz Partenaire des plus grands noms de la free music britannique depuis le milieu des années 70, Paul Rogers (contrebasse sept cordes unique au monde) est accompagné ce soir par Pierrick Lefranc (guitare, effets, électronique). ECHOES OF SILENCE projection en présence de Stasia Gelber, actrice Imagez Shadows de Cassavetes, sans dialogues autre que ceux des formes et des regards. Seuls quelques cartons expliquent les plans qui suivent. Un film sonore mais sans paroles, qui crie la solitude d’une génération qui se cherche dans le bouillonnement des villes. Mingus et Prokofiev accompagnent l’en- semble. Une merveille trop longtemps restée dans l’ombre. radio, jazz et cinéma mercredi 8 mars / 19h00 culte émission de radio alpa en direct du cinéma Pour aborder la question du jazz au cinéma dans le cadre du festival Toiles de Jazz, Radio Alpa forme un Big Band à partir de C ul te , l’émission drolatique qui dissèque sans états d’âme les arts narratifs, et de Musiques des Toiles, émission qui explore sans relâche le vaste continent des musiques de film. A retrouver en direct du cinéma Les Cinéastes et sur Radio Alpa 107.3 FM. AUTOUR DE JACKIE MCLEAN jeudi 9 mars / 20h00 the connection projection suivie d’une rencontre avec Guillaume Belhomme Projection du film The connection suivie d’une rencontre avec Guillaume Bel- homme, écrivain, éditeur et musicien, qui a écrit plusieurs ouvrages consa- crés au jazz. Citons notamment Jackie McLean (2014), oeuvre consacrée au musicien qui joue dans The Connection, Eric Dolphy (2008), Giant Steps : Jazz en 100 figures (2009) ou encore Morton Feldman : for Bunita Marcus / Une minute, une seule (2016 - réédition de 2008). SOIRÉE De clôture mardi 14 mars / 19h30 ARCHIE, BILLIE & FRANK CASSENTI Pour la soirée de clôture, nous vous offrons la chance de voir deux documen- taires magnifiques consacrés à Billie Holiday (19h30) puis à Archie Shepp (20h30). Celui sur Shepp étant un des plus beaux films réalisés sur un musi- cien de Jazz. Rencontre intime et décisive avec une légende du saxophone. De quoi terminer le festival en beauté et en belle compagnie. les films ASCENSEUR POUR L’ÉCHAFAUD Louis Malle LE DÉPART Jerzy Skolimowski 1958 / 1h30 / Policier, Drame, Thriller / Français 1967 / 1h33 / Comédie dramatique / Belge / 35mm Avec Jeanne Moreau, Maurice Ronet, Lino Ventura, Jean-Claude Brialy Avec Jean-Pierre Léaud, Catherine-Isabelle Duport Un homme assassine son patron avec l’aide de sa femme dont il est Marc, un garçon coiffeur d’à peine vingt ans, est passionné par la course l’amant. Voulant supprimer un indice compromettant, il se retrouve bloqué automobile. Il a pour ambition de participer au rallye de Spa qui se dérou- dans l’ascenseur qui l’emporte sur les lieux du crime. lera ce dimanche et s’est inscrit à la compétition sous la marque Porsche, le Miles Davis, entouré de Barney Wilen, René Urtreger, Kenny Clarke et Pierre jeune homme ayant pris l’habitude d’emprunter discrètement celle de son Michelot, devant les errances nocturnes de Jeanne Moreau. Laisser Miles patron qui ne quitte jamais le garage. Seulement, ce dernier décide contre jouer les émotions et le désespoir de Jeanne : la plus belle idée du cinéma. toute attente de la prendre pour partir en week-end et Marc est sommé de trouver un véhicule de remplacement. La plus belle musique de film de Krzysztof Komeda, la plus jazz aussi, jouée SHADOWS John Cassavetes par Don Cherry, Gato Barbieri, René Urtreger... Pour un film étrange, poétique 1959 / 1h20 / Drame / Américain et envoûtant, avec Jean-Pierre Léaud, parfait. avec Ben Carruthers, Lelia Goldoni, Hugh Hurd, Anthony RayBrialy États-Unis, années 60. Benny, Hugh et Lélia sont frères et sœur et par- WHIPLASH Damien Chazelle tagent à New York le même appartement. Alors que Benny passe ses jour- nées dans les rues et les bars, Hugh tente de faire carrière comme chan- 2014 / 1h47 / Drame / Américain teur de jazz. Lélia quant à elle veut être écrivain. Tous trois veulent aussi avec Miles Teller, J.K. Simmons, Paul Reiser aimer et être aimés. Andrew, 19 ans, rêve de devenir l’un des meilleurs batteurs de jazz de sa Charles Mingus et Shafi Hadi sur la bande son, improvisation avec les ac- génération. Mais la concurrence est rude au conservatoire de Manhattan teurs, montage entre pulsations et brisures. Le modèle du film-jazz. où il s’entraîne avec acharnement. Il a pour objectif d’intégrer le fleuron des orchestres dirigé par Terence Fletcher, professeur féroce et intraitable. Lorsque celui-ci le repère enfin, Andrew se lance, sous sa direction, dans la THE CONNECTION Shirley Clarke quête de l’excellence. 1961 / 1h50 / Drame, documentaire fictif / Américain Tout comme Birdman d’Iñárritu, sorti la même année sur un rythme effréné, Damien Chazelle honore brillamment la batterie de jazz grâce à une réali- avec Warren Finnert, Jackie McLean, Garry Goodrow sation impeccable qui offre à Miles Teller et J.K. Simmons un duel majeur Dans un appartement de New York, huit drogués, un réalisateur et un ca- duquel il découle, dans l’exigence et le sang, une intense complicité. méraman attendent l’arrivée de Brother Cowboy. Le groupe de junkies a en effet accepté de se laisser filmer par un documentariste en échange du paiement de la prochaine livraison. Le réalisateur filme le groupe qui MILES AHEAD Don Cheadle attend l’arrivée du contact, The Connection, qui doit les délivrer de leur angoisse en apportant leur dose d’héroïne. Pour passer le temps, certains 2016 / 1h40 / Biopic, drame / Américain jouent du jazz... Avec Don Cheadle, Ewan McGregor, Michael Stuhlbarg C’est la musique qui produit les émotions. Les gens écoutent le film et réa- Durant la parenthèse de sa carrière (1975-1981), Miles Davis, à la dérive gissent à la musique. Shirley Clarke chez lui, se fait dérober une bande enregistrée. Le trompettiste se fait aider Improvisations du quartette de Jackie McLean, en attendant un dealer nom- par Dave Brill, un journaliste de Rolling Stone, afin de la retrouver. Entre mé Cow-Boy. Un fantôme qui hante l’unique décor : Charlie Parker. temps, il se remémore ses années glorieuses sur scènes et ses années mal- heureuses avec son épouse Frances Taylor sous l’emprise d’alcool et de drogues avant son grand retour en 1981. À BOUT DE SOUFFLE Jean-Luc Godard Don Cheaddle incarne Miles avec Passion et esquive intelligemment le biopic - Moberland ©Martin Frénéhard PUBLIQUE - MJC Prévert JETER SUR LA VOIE NE PAS 1960 / 1h30 / Policier, Drame, Romance / Français classique, porté par une bande son géniale validée par Herbie Hancock en personne. avec Jean Seberg, Jean-Paul Belmondo, Daniel Boulanger L’itinéraire d’un jeune délinquant qui, après avoir volé une voiture et tué un policier, est traqué par la police. Il se retrouve à Paris où il tente de ECHOES OF SILENCE Peter Emanuel Goldman convaincre une amie américaine de partir avec lui en Italie. Godard réinvente le cinéma et fait confiance à la pulsation impeccable de 1965 / 1h10 / Drame, Cinéma expérimental / Américain l’orchestre de Martial Solal. Les corps de Jean-Paul Belmondo et Jean Se- Avec Miguel Chacour, Viraj Amonsin, Blanche Zelinka berg ont désormais un son. Film culte et rarissime. Itinéraire psycho-sexuel d’un jeune new-yorkais dé- soeuvré dans le Greenwich Village des sixties. Premier film du réalisateur Peter Goldman, qu’il a filmé pour 1500 dollars, à la Bolex, et des connais- STARDUST MEMORIES Woody Allen sances de l’époque.
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