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The Zero Theorem / Le Théorème Zéro, États-Unis / Roumanie / Grande-Bretagne / France, 2014, 1 H 47] Document généré le 30 sept. 2021 23:24 Séquences La revue de cinéma The Zero Theorem Le théorème zéro, États-Unis / Roumanie / Grande-Bretagne / France, 2014, 1 h 47 Claire Valade François Truffaut – un cinéma nommé désir Numéro 292, septembre–octobre 2014 URI : https://id.erudit.org/iderudit/72833ac 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 Valade, C. (2014). Compte rendu de [The Zero Theorem / Le théorème zéro, États-Unis / Roumanie / Grande-Bretagne / France, 2014, 1 h 47]. Séquences, (292), 39–39. Tous droits réservés © La revue Séquences Inc., 2014 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/ DIRECTEMENT EN DVD | ARRÊT SUR IMAGE 39 The Best Offer The Zero Theorem n commissaire-priseur, distant, portant souvent des gants, vec The Zero Theorem, l’iconoclaste Terry Gilliam nous Uouvre une porte dérobée dans son hôtel particulier. S’y Aaccueille en terrain connu. Abordant un genre qu’il connaît trouve un cabinet secret où il garde, regarde et contemple bien, la fable de science-fiction dystopique, Gilliam replonge dans des peintures de femmes, œuvres d’artistes plus ou moins des thèmes et des idées qu’il affectionne particulièrement. Dé- célèbres1. C’est là son jardin secret où il lit, entouré de ses sillusion et désenchantement, muses. Monsieur Oldman est à la tête d’une entreprise recon- questionnement existentiel et nue et un expert recherché par diverses familles pour fins d’in- rêve de vie meilleure, amours ventaires. Il emploie aussi alors des méthodes que l’éthique inaccessibles et bureaucratie réprouve. Il est donc proche, par certains côtés, de l’escroc orwellienne, poésie déjantée Joe Morelli – autre mar- et bric-à-brac foisonnant sont chand de rêves de Torna- donc au rendez-vous. On pense tore – dans The Star Maker évidemment à Twelve Mon- (L'uomo delle stelle), pour keys et, surtout, à Brazil, dont de pauvres Siciliens sûrs de The Zero Theorem est l’héritier devenir des étoiles. Ici, Vir- direct. Mais il y a aussi de la folie gil Oldman, interprété ma- rocambolesque de The Adven- gistralement par Geoffrey tures of Baron Munchausen ou Rush, est un tel marchand encore de la détresse poignante pour les classes, au moins de The Fisher King... de même bourgeoises, sûres de déte- qu’une multitude de clins d’œil à d’autres œuvres du répertoire nir le chef-d’œuvre inconnu. SF, y compris The Matrix, eXistenZ et Thomas est amoureux. Le caractère international Christoph Waltz donne une épaisseur subtile à son Qohen de son entreprise, ayant Leth, personnage relativement monochrome. Informaticien pignon sur rue en Italie et génial, Qohen tente de prouver, pour un grotesque patron ailleurs en Europe, est sou- tout-puissant, que l’univers – et donc la vie – n’a aucun sens. Toutefois, il est lui-même consumé par l’attente d’un appel ligné par l’emploi de l’anglais par tous les protagonistes, ce énigmatique qui n’arrive jamais et qui donnerait enfin... un qui a sûrement dû étonner des spectateurs qui s’attendaient à sens à sa propre vie. On n’en est pas à un paradoxe près dans de l’italien chez Tornatore. Celui-ci fait évoluer ses personna- ce film qui apparaît surtout comme un flamboyant ressassage ges ici – et souvent par temps gris –, dans ce Nord de l’Italie, d’idées et d’images empruntées, sans être nécessairement même site que dans La sconosciuta (La Femme inconnue), renouvelées. Comparativement, son inspiration principale, son autre film policier psychologique, également magnifi- Brazil, bouillonnait d’inventivité et de nouveauté. Le problème quement filmé par Fabio Zamarion, et bien loin du soleil de réside peut-être surtout dans le scénario. À faire trop de Malena et de Cinema Paradiso. clins d’œil, Pat Rushin semble avoir oublié de donner du Sur ce canevas du paraître et de l’être, Tornatore tresse cœur à Qohen et de la consistance à son récit. L’introduction un scénario où une naine à la voix métallique est peut-être d’une aguichante séductrice et d’un adolescent brillant trop le double d’un automate de Vaucanson. La machination se impertinent (les vrais « cœurs » du film) ne suffit pas à insuffler construit lentement, opposant salles de vente, restaurants suffisamment d’empathie à l’ensemble. huppés, atelier de réparation électronique et villa urbaine En fin de compte, The Zero Theorem fait davantage figure où vit, derrière une autre porte close, Claire, une très belle de calque mineur de Brazil. Le film se révèle surtout cynique, jeune femme mystérieuse. Oldman, mû par la recherche des hétéroclite et nihiliste, là où Brazil était plutôt mélancolique, oni- morceaux de l’automate inconnu, y rencontre des émotions qui rique et déchirant. Si Brazil était porté par un humour fantaisiste obscurciront sa légendaire sagacité. La musique de Morricone, et absurde, The Zero Theorem donne dans le burlesque anar- aux accents hitchcockiens, souligne un peu trop les dédales de chique, sans la cohésion effervescente du premier. Ceci dit, si cette éducation sentimentale d’un homme âgé. elle n’est pas entièrement satisfaisante, l’œuvre imparfaite d’un auteur fascinant peut souvent se montrer plus intéressante que Luc Chaput le film parfait d’un simple faiseur. 1 On trouvera sur imdb.com, dans les pages consacrées au film, une liste Claire Valade desdites œuvres, plus facile à gérer que celle dans le générique de fin. NDLR : Au moment d’aller sous presse, nous apprenions que le film sortirait finalement en salles au Québec. ■ LA MIGLIORE OFFERTA | Origine : Italie – Année : 2013 – Durée : 2 h 11 ■ LE THÉORÈME ZÉRO |‒ Origine : États-Unis / Roumanie / Grande-Bretagne – Réal. : Giuseppe Tornatore – Scén. : Giuseppe Tornatore – Images : Fabio / France – Année : 2014 – Durée : 1 h 47 – Réal. : Terry Gilliam – Scén. : Pat Zamarion – Mont. : Massimo Quaglia – Mus. : Ennio Morricone – Int. : Geoffrey Rushin – Images : Nicola Pecorini – Mont. : Mick Audsley – Mus. : George Rush, Sylvia Hoeks, Jim Sturgess, Donald Sutherland, Philip Jackson, Dermot Fenton – Int. : Christoph Waltz, Mélanie Thierry, Lucas Hedges, David Thewlis, Crowley, Liya Kebede – Dist. / Contact : Warner. Tilda Swinton, Matt Damon – Dist. / Contact : Métropole. SÉQUENCES 292 | SEPTEMBRE — OCTOBRE 2014.
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