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Day of the Outlaw Day of the Outlaw “Chef d’œuvre culte. Les Inrockuptibles “Un maTelerama 1959 - États-Unis - 1h32 - Western - Noir et blanc - Titre original : Day of the Outlaw - visa n° 22186 - DCP Les querelles intestines d’un petit hameau de l’Ouest sont un jour interrompues par l’arrivée de sept fuyards, chargés de l’or dérobé à un convoi de l’armée fédérale. Day of the Outlaw Scarlett, un gros propriétaire, va user de son prestige et de son autorité pour éviter durant deux jours tout affrontement fatal. Cinéaste d’origine hongroise, André de Toth fait partie de ce qu’on a appelé les borgnes d’Hollywood (John Ford, Fritz Lang, Raoul Walsh, Nicolas Ray). réussit quand même à tourner avec de grands acteurs : Randolph Scott, Pitfall ou Chasse au gang avec Sterling Hayden. En 1953, la Warner l’engage pour réaliser en 3D L’Homme au masque de cire. L’Institut Lumière à Lyon lui a rendu un vibrant hommage en programmant une rétrospective en sa présence en 1993 et en éditant avec Actes sud ses mémoires (Fragments, portrait de l’intérieur), ainsi qu’un livre d’entretiens avec Philippe Garnier (Bon pied bon œil - Deux rencontres avec André de Toth, le dernier borgne d’Hollywood). continuent de célébrer son œuvre. Robert Ryan (1909 – 1973) Venu du théâtre, Robert Ryan impose sa présence et son physique de guerre, tournés par les meilleurs réalisateurs de son époque, comme Robert Wise, Fritz Lang, Anthony Mann, Robert Aldrich, Samuel Fuller ou encore Sam Peckimpah dans La Horde sauvage. Burt Ives (1909 – 1995) Musicien de Country et chanteur, Burt Ives connut dans les années 50 pour ses rôles les plus importants à partir d’A l’Est d’Eden d’Elia Kazan (1955). Il est récompensé par un Oscar du meilleur second rôle dans Les Grands espaces de William Wyler (1958). La même année, il incarne le père de Paul Newman dans La Chatte sur un toit brulant et le chef des braconniers dans La Forêt interdite de Nicolas Ray. retrouvez nous sur Facebook & Twitter « Chef-d’œuvre culte mais peu connu, La Chevauchée des bannis raconte la prise en otage d’un petit village reculé par une bande de hors-la-loi de passage. distingue d’abord par son élégance austère, son dépouillement esthétique. Les décors sont minimalistes : de neige. sécheresse du trait, économie des mouvements d’appareil ; plastiquement, on est ici plus proche du Ruban que renforcent une caméra pratiquement immobile (ce qui est rare chez De Toth) et un noir et blanc de blanc Libération celle de La Horde sauvage. respecter la loi ?). menace de virer au viol collectif (on est là loin de Ford)… La dernière partie est particulièrement saisissante: les humains. Noir, cruel, sarcastique, hanté par la violence et la mort, porté par des acteurs impeccables (le sombre et La Chevauchée des bannis Serge Kaganski, Les Inrockuptibles ce huis clos hivernal avec toute sa science des rapports humains : les dialogues sont acérés ; la tension, Télérama.
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