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Sommersby Jocelyne Hébert Document généré le 24 sept. 2021 15:04 Séquences La revue de cinéma Sommersby Jocelyne Hébert Numéro 164, mai 1993 URI : https://id.erudit.org/iderudit/59537ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Hébert, J. (1993). Compte rendu de [Sommersby ]. Séquences, (164), 56–57. Tous droits réservés © La revue Séquences Inc., 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ partir de ce moment-là que Victor une bonne comédie. Il faut aussi que Sommersby cesse ses crises d'hystérie. Et je trouve le rythme soit là. Toutes les répliques génial que la réalisatrice ait songé à ce doivent être dites sur le bon ton et au Vous connaissez l'histoire: après retour vers la mère quand le grand bon moment. Il faut aussi savoir une absence de plusieurs années, un garçon d'environ trente ans se articuler, car le rythme est très rapide. homme revient dans son village natal. retrouve seul. Lorsqu'il voit que le Il est intéressant de noter que le retour Accueilli chaleureusement, reconnu monde s'écroule autour de lui, il veut cyclique de certaines phrases ponctue de tous et accepté par son épouse, il retourner dans le sein maternel. Mais harmonieusement le scénario. reprend, à la fois, sa place dans la c'est impossible parce que la mère Ce qui est amusant, quoique déjà famille et le travail sur ses terres. Tout tranche définitivement le cordon vu, c'est l'opposition du personnage va bien ou plutôt, tout va mieux car ombilical. Victor est donc obligé de straight, Victor, au personnage l'homme a changé durant ses voyages; devenir un être autonome. Fini la comique, Michou. Ils sont les clowns des changements agréables qui font fusion avec l'autre et les cris. C'est le blancs et noirs qui nous font voir les particulièrement la différence dans temps d'articuler. Il doit apprendre à deux côtés des choses. Donc rien de une vie de couple. Mais ces sentir ses besoins réels et à les dire. La neuf sous le soleil, mais ça fonctionne changements, peu à peu, sèment le mère n'est plus responsable de son toujours. Les comédiens sont très doute dans l'entourage: ce survenant fils. Ce dernier doit aller chercher lui- convaincants. Sauf erreur, à part la est-il le bon homme? même de par le monde ce qui le scène du concert, il n'y a pas de nourrira. musique dans ce film. S'il y en a, je ne Pendant qu'il se calme, Michou, l'ai pas remarquée. La parole prend un type plutôt benêt, mais pas toute la place. Quoi de plus normal méchant explique très concrètement quand on met en scène des gens en pourquoi il n'aime pas les immigrants pleine crise de nerfs. Parler, ça aide à qui habitent près de chez lui. Puis ce faire sortir la vapeur. sont les enfants d'un député qui jettent Bref, Coline Serreau a su, à partir le foie gras et le vin à la poubelle d'une réalité dramatique parce que la Dr Kousmine y voit la contemporaine faire une comédie cause de toutes les maladies bien ciselée. Elle a exagéré dégénératives comme le cancer et la suffisamment nos défauts pour qu'ils sclérose en plaques. Et il y a aussi Isa, soient bien visibles aux aveugles que la soeur de Victor, qui ne parvient pas nous sommes. Et tout ça, elle l'a fait Richard Gere On se souvient du Retour de à faire comprendre à son ami qu'elle avec une tendresse qui rend tous ses dans Sommersby Martin Guerre, un brillant exercice l'aime même si elle ne veut pas personnages attachants. Puisqu'ils narratif tourné en 1982 par le l'épouser. Qui peut dire qu'il ou elle nous ressemblent, nous apprenons réalisateur français Daniel Vigne, et ne s'est jamais retrouvé(e) dans l'une donc qu'il ne nous sert à rien d'adorer dans lequel Bertrande, personnage- ou l'autre, sinon toutes ces situations? le veau d'or. Comme Victor et son clé, raconte au conseiller du Personne. Alors nous nous entourage, nous comprenons qu'il faut parlement les circonstances du retour reconnaissons et nous rions jaune lâcher prise et cesser de jouer des de Martin, son mari. Exploitant une parce que Victor auquel nous nous rôles en croyant faussement qu'ainsi atmosphère et des perspectives qui étions déjà identifié ne ressemble ni à nous serons aimés de tous. La Crise rappellent le peintre flamand Bruegel, Michou ni aux enfants du député, et le est donc une excellente comédie où sur une musique qui halète et enfle salaud, il rit ouvertement de Michou l'humour et la tendresse sont bien comme une rumeur, le film pose en et plus discrètement des enfants. dosés. filigrane les questions de l'identité et Quant à la petite mésaventure d'Isa, de la légitimité: où se trouve la vérité elle aide Victor à s'ouvrir les yeux, à Sylvie Beaupré et comment décider qu'elle s'y trouve? voir comment une femme perçoit la Quel est le poids d'un témoignage et vie de couple. Il commence alors à LA CRISE — Réal.: Coline Serreau — Scén.: lequel retenir lorsque deux opinions comprendre pourquoi sa femme l'a Coline Serreau — Phot.: Robert Alazraki — contraires s'opposent avec la même Mont.: Catherine Renault — Mus.: Sonia quitté. D'autres rencontres amèneront Wieder-Atherton — Son: Guillaume Sciama, force? A quoi reconnaît-on qu'une Victor à voir de plus en plus clair en Dominique Dalmasso — Dec: Guy-Claude personne est vraiment celle qu'elle dit lui, à se retrouver. Ainsi, il apprend à François — Cost.: Karen Mûller — Int.: Vincent être? Lindon (Victor Barel), Patrick Timsit (Michou), s'accepter, à être plus ouvert, plus Zabou (Isa), Maria Pacôme (Mme Barel), Yves Onze ans plus tard, c'est au tour vivant, plus aimant. Robert (M. Barel), Catherine Wilkening (Marie du cinéma américain et du réalisateur Barel), Annick Alane (la grand-mère), Gilles Même si l'effet de distanciation est Privât (Laurent) — Prod.: Alain Sarde — France- Jon Amiel de donner leur version du réussi, ce n'est pas suffisant pour faire Italie — 1992 — 95 minutes — Dist.: Malofilm. retour-de-l'homme-parti-au-loin. Si, 56 Séquences dans un premier réflexe, on peut être mauvais souvenirs et qui, alors qu'elle Carrière — Phot.: Philippe Rousselol — Mont.: Peter Boyle — Mus.: Danny Elfman — Son: tenté de s'interroger sur l'intérêt qu'a le croyait mort, a accepté les avances Chris Newman — Dec: Bruno Rubeo, Michael pu soulever chez nos voisins d'un rival. Au centre de l'éternel trio Johnston — Cost.: Marilyn Vance-Straker — producteurs cette histoire subtile et qui se constitue, Laurel se refuse Int.: Richard Gere (Jack), |odie Foster (Laurel), d'abord au mari qu'elle a connu... et Lanny Flaherty (Buck), Wendell Wellman troublante, on comprend ensuite (Travia), Bill Pullman (Orin), Bretty Kelley (Little rapidement qu'Hollywood ne s'est pas cède ensuite chaleureusement au Rob), William Windom (Rév. Powell), Clarice seulement contenté de transposer le nouvel amant qui s'installe chez elle. Taylor (Esther), lames Earl lones (le juge Isaacs) récit dans un contexte qui lui Le film se donne alors pour ce qu'il — Prod.: Arnon Milchan, Steven Reulher — États-Unis — 1993 — 112 minutes — Dist.: convient, mais l'a aussi adapté à ses est, une histoire d'amour construite, Warner Bros. incontournables canons. comme tant d'autres, sur le jeu de la C'est ainsi que Martin Guerre, ce vérité et du mensonge. Ici encore, les tout jeune homme ombrageux parti à questions de légitimité et d'identité l'aventure sous le règne de François sont posées, non plus face à la Utz 1er, devient Jack Sommersby, un collectivité et au droit, comme dans À plusieurs égards un fermier sudiste, dur et violent, qui Martin Guerre, mais face à l'amour et collectionneur ressemble à un rentre chez lui au lendemain de la à tout ce qui est permis de faire en son toxicomane incurable. Accumuler, guerre de Sécession. Au retour, tous nom. Lorsque Laurel demande à cet grouper, cataloguer, voilà le lot d'un deux ont beau être beaucoup plus homme qu'elle sait être un imposteur collectionneur invétéré qui tel un sympathiques et se chausser plus de quitter sa maison, Jack répond: drogué agit par compulsion et est petitement — pour la plus grande «Peu importe qui tu crois que je suis, souvent prêt à payer très cher un objet confusion de leurs cordonniers m'aimes-tu?». Devant l'hésitation de convoité. Collectionner devient respectifs —, bien des choses, et la jeune femme, il reprend: «Je suis parfois une servitude qui peut pousser notamment le scénario, les chez moi maintenant.» un individu à l'isolement jusque dans différencient et les éloignent. Plus encore, malgré les tentatives le tréfonds de sa personnalité, En effet, dès le générique, la du rival éconduit de nuire à l'engageant à la contemplation de ses comparaison entre les deux films Sommersby, c'est à un duel entre Jack trésors et le contraignant à s'abstraire devient malaisée, et rapidement, et Laurel que nous assistons, un duel radicalement de la société qui Sommersby s'impose comme une d'amour qui aurait pu donner au film l'entoure.
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