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Lonely Boy Guy Corneau Document generated on 09/30/2021 11:05 p.m. Séquences La revue de cinéma Lonely Boy Guy Corneau Number 32, February 1963 URI: https://id.erudit.org/iderudit/51948ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Corneau, G. (1963). Lonely Boy. Séquences, (32), 38–40. Tous droits réservés © La revue Séquences Inc., 1963 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/ LE FILM DOCUMENTAIRE LONELY BOY Guy Cornea u LONELY BOY: Real.: Wolf Koenig et Roman Kroitor — Phot.: Wolf Koenig — Mont. : Joseph Spotton et Guy L. Côté — Prod. : Tom Daly et Colin Low — Durée: 27 min. — Disr. : O.N.F. — 1961. Lors d'une interview qu'il ac­ cordait à la revue Objectif, Wolf Koenig révélait son admiration pour le film de Leni Riefenstahl : Le Triomphe de la volonté. Mais il désapprouvait les procédés uti­ lisés dans ce film pour élever un homme au rang de dieu. Koenig et Kroitor ont repris à leur comp­ te plusieurs de ces procédés dans Lonely Boy, mais ils sont allés plus loin : ils ont percé la façade du spectacle et ont cherché à voir l'en­ vers du décor. Le prélude au générique s'ou­ vre sur un travelling-automobile qui nous amène à Atlantic City aux accents de "Lonely Boy" que UBUH chante Paul Anka. Ce thème BaanS revient quand le film se termine •SU sur un plan moyen à l'intérieur de l'automobile où se trouvent Anka, SÉQUENCES son gérant et trois musiciens qui injuste qu'à la base on trouve sou­ le suivent dans ses tournées. Le vent nue ignorance du répertoire paysage défile au second plan re­ d'Anka. prenant le mouvement du début, Pour ma part, je suis convaincu mais ce n'est plus pour aller voir de la valeur artistique de Paul un chanteur : nous sommes main­ Anka. Il sait choisir les mots de tenant avec lui. tous les jours pour exprimer son Que ce soit au Steel Pier d'At- aventure personnelle ; pensons à lantic City, au Copacabana et à la chanson titre et à "Diana". La Freedomland de New-York, la ca­ musique d'accompagnement qu'il méra capte sa vedette dans de nom­ compose est par ailleurs très en­ breuses contre-plongées. Elle éta­ traînante, même lorsque les paro­ blit le contact avec l'auditoire par les ont un sens dramatique : "I'm des panoramiques de la scène à just a lonely boy, lonely and blue". la salle. Quand la foule des adoles­ Ses chansons reflètent un optimis­ cents et surtout des adolescentes se me constant, ce qui correspond à presse à l'extérieur des salles pour un trait dominant de la civilisation recevoir son héros, nous, qui re­ nord-américaine. gardons l'écran, participons à cette expectative. Cela contribue à magni­ Tout au long du film, le mon­ fier Anka lorsqu'il arrive avec son tage joue un rôle important ; il escorte. La proximité de la foule nous permet de prendre du recul admiratrice est traduite par des et d'explorer le visage humain du gros plans, et le grand angulaire jeune dieu. On se laisserait volon­ amplifie les moindres détails, par tiers envoûter par le rythme musi­ exemple, les larmes d'émotion que cal et la présence de l'interprète. laisse échapper une jeune fille, ou Mais à peine une chanson est-elle les gestes intimes d'une autre commencée qu'une séquence d'in­ qu'on a fait monter sur la scène. terview s'intercale, après quoi on C'est le côté publicitaire de cette nous reporte à la scène où s'achève industriequ'on appelle entertain­ le dernier couplet. Les cinéastes ment ou show business. Certains nous révèlent la force de caractère sont frappés par cet aspect et d'Anka qui a travaillé pendant accusent Paul Anka d'être une cau­ deux ans à changer son physique se de scandale rentable. D'autres le selon les exigences de sa carrière. comparent aux chansonniers fran­ Ils nous découvrent un gérant qui çais célèbres et lui reprochent son trace froidement le chemin à par­ manque de profondeur; comparai­ courir et marque les étapes du suc­ son qui risque d'être d'autant plus cès. Il y a aussi cette rencontre où FÉVRIER 1963 39 la caméra gêne les trois personna­ admiration sans borne, allant par­ ges qui réagissent selon une con­ fois jusqu'aux transes. Serait-ce le vention sociale bien établie. Cette signe d'un vide spirituel ou est-ce gêne est portée à un deuxième de­ le remède à l'état de surexcitation gré quand le réalisateur demande causé par la vie trépidante des vil­ à deux d'entre eux de reprendre le les, comme le suggérait Jean Rouch baiser qu'ils échangent et de con­ à la fin de ses Maîtres-Fous? tinuer à parler. La spontanéité de chacun reprend alors le dessus. Lonely Boy présente une idole et l'enthousiasme délirant qu'elle sus­ Sur un autre plan, le film met cite. Les moyens de fabrication y en lumière le phénomène d'une sont visibles au grand jour mais jeunesse qui s'éveille brutalement nous sentons, à travers les délires à la sexualité. Elle se cherche des du spectacle, battre le coeur d'un idoles auxquelles elle accorde une homme. CONGRES DES CINÉ-CLUBS ÉTUDIANTS MONTRÉAL, 19, 20, 21 AVRIL 1963 Chaque ciné-club recevra une invitation officielle accompagnée du programme détaillé du Congrès. POUR TOUTE INFORMATION, ÉCRIVEZ APRÈS LE 15 MARS, À CONGRÈS DES CINÉ-CLUBS 315 EST, RUE DE MONTIGNY, MONTRÉAL 18. SEQUENCES .
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