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Cinéma Hélène Chantal Document generated on 09/28/2021 1:27 p.m. Intervention Cinéma Hélène Chantal Volume 1, Number 2, Fall 1978 URI: https://id.erudit.org/iderudit/59274ac See table of contents Publisher(s) Intervention ISSN 0705-1972 (print) 1923-256X (digital) Explore this journal Cite this review Chantal, H. (1978). Review of [Cinéma]. Intervention, 1(2), 33–33. Tous droits réservés © Les Éditions Intervention, This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ cifici Son film précédent "Anastasie oh ma Un sujet qui s'exploite... la femme! Le concept amitié, réservé précédemment chérie" choque par son hyper réalisme, aux hommes, développé efficacement son refus de tout camouflage que ce soit Autant le cinéma les avait négligées, au­ dans "The turning Point" et ce petit bi­ au niveau esthétique ou au niveau idéolo­ tant ce médium tout-puissant les revalo­ jou "Julia" où le tandem "Redgrave-Fon­ gique. Le thème en est le refus d'une fem­ rise actuellement. da" explose de vérité. me au monde extérieur, le viol de la dite femme par la société et ses prototypes. Le public bouffe tout ce qu'on lui amène, La liste des films s'allonge et comble en­ c'est connu! Le menu jusqu'ici n'a guère fin le vide des années sombres dans ce do­ En guise de riposte, Paule a fait appel à été consistant! Les différentes images maine! C'est déjà un signe de conscience ses amis, aux artistes qui'se rallient à la féminines véhiculées n'abondaient que sociale normalement développée (du cause du cinéma perdu. RésuU^t: "un dans le sens du... poil! Les Marilyn, Bar­ moins dans le contexte cinémathographi- dot et compagnie ont cédé la place aux événement doux", un bô show d'amour, que) que de dépeindre objectivement les de musique, de théâtre où tous les élé­ Ullman, Jackson, Schneider, Fonda (qui facettes du vécu d'une femme... a changé son fusil d'épaule depuis Barba- ments faisaient corps harmonieusement. rella...) Hélène Chantai Grâce à ben du monde (Conventum, Yvon Deschamps, plusieurs comédiens, Serge Fiori, etc..) et aussi à la foi du pu­ Il n'y a pas très longtemps, les grands blic underground de l'Outremont (dixit rôles étaient tenus uniquement par les Un événement pour sortir de la cuisine... le comité du programme) Paule Baillar­ mâles, les femmes, confinées dans le style geon pourra peut-être continuer le tour­ "poupée, pute, oie blanche ou mater nage de son film en août! dolorosa..." se contentaient d'être le "Y aurait-il plus d'amateurs de toppless "faire-valoir" de ces messieurs... que d'amateurs de cinéma?" On est en droit de se le demander vu la drôle de si­ Un pas de plus contre l'autorité répres­ Evidemment la vague des films "in­ tuation qui se joue à Montréal: sive, ce qui prouve qu'au Kébec, le ciné­ tellectuels-erotiques" nous a permis d'éva­ ma des "petits" se fait toujours couper luer le talent des Sylvia Krystel (Emma­ Pendant qu'on célèbre pompeusement l'herbe sous le pied par les grands... on nuelle) ou de notre Carole Laure natio­ le Festival de la critique québécoise à la n'a pas fini d'applaudir le film étranger nale! Place des Arts, à l'ONF, on refuse offi­ dans les festivals... ciellement le film de Paule Baillargeon: Les réalisateurs heureusement ont com­ "La cuisine rouge"... HELENECHANTAL pris que les comédiennes avaient droit à des rôles sur mesure et que les besoins du La machine gouvernementale a jugé une cinéphile à l'égard de la perception fémi­ fois de plus le film trop subversif, pour nine se devaient d'être orientés. des raisons demeurées obscures... peut- être dues au sujet contreversé "les toppless Résultat: On assiste à une pléiade de et tout ce qui s'ensuit", assez indécent films traitant de la femme sous tous ses pour ne pas être monté sur pellicule... aspects! Une bonne denrée quoi! Exploi­ té de différentes manières, ce sujet en or Paule Baillargeon et ses techniciens ont nous vaut quand même quelques bonnes amassé plus de trois cents (300) heures réalisations. de travail, de vidéo, de bandes sonores, le premier jet ayant été accepté par le Outre Bergman qui a toujours sondé ses comité de programme. Curieusement, à thèmes via le regard d'une femme, cette la présentation du projet élaboré, le dit dernière décennie s'avère riche en décou­ comité refuse carrément de subvention­ vertes: ner! Le sexisme joue encore une fois sa carte; la peur du changement règne sur D'abord la folie, magistralement utilisée ceux qui tiennent en main notre pantin- par John Casaveetes "Une femme sous cinéma... influence" où Gêna Rowlands s'affirme réellement en tant que comédienne. "La Un paquet de films dont la liste serait Dentellière" de Claude Goretta une schi­ trop longue à énumérer ("On est au zophrénie subtilement jouée qui a lancé coton", "24 heures de plus", etc..) dort Isabelle Huppert dans le rang des révéla­ sur les tablettes de l'ONF! On les sort tions. lorsque l'impact est passé... Puis, une avalanche de films sur le sujet Le film de Paule Baillargeon dérange par "L'après-divorce" où l'autonomie fémi­ sa lucidité envers le monde qui encourage nine s'accentue: "An unmarried woman, et vend l'objet-femme, c'est-à-dire la La Femme de Jean, et combien d'autres; toppless. Evidemment un film réalisé et les relations homme-femme où Lina écrit par une bonne femme devrait être Wertmuller excelle (Swept-Away etc.). plus "vendable" sinon dans le style "ro­ Une journée particulière qui nous dévoile man", au moins dans le genre "féministe une Sophia Loren admirable et l'innef- à la mode"; or celui-là ne recèle aucune fable Woody Allen qui transpose ses de ces soi-disantes qualités. Il défend la "bibiles" en nous présentant "Annie vie, l'être, et le décrit dans sa nudité to­ Hall" une femme "au bout"... tale. 33 .
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