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Hommage À Douglas Sirk

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Hommage À Douglas Sirk C a h i e r s d u CINEMA l ï Douglas SirkJacques Demy Ruy Guerra 2?riæ du numéro 6 francs j numéro 189 avril 1967 studio action Les constatations qu’il nous a été permis de faire tant au cours de nos activités de. cinéphiles qu'au cours de celles d'animateurs nous ont prou­ vé qu'une, grande partie du public hommage « cultivé » — celui qui fréquente les sa lies d'Art et d'E ssai en particu­ lier — limite sa consommation de à films aux seules œuvres de Ford, Hatvks. Hitchcock, Walsh ; quelque fois W ailes* Lan g et plus rarement Kazan. Fuller, Minnelli. douglas sirk Est-ce dû à l'affirmation axcessive d'une ptfli tique d'auteurs ce qui, (3-18 m ai) somme toute. /l'est que demi-mal, on, plutôt, fait beaucoup plus grave, « une certaine parasse intellectuelle à un confort annihilant, pour ne pas dira un conformisme ? Il n'est pas question pour nous de TARNISHED ANGELS (la ronde de l'aube) mercredi 3 brûler ceux ifue nous adorons. Il vendredi 12 n'est pas mm plus question de pren­ dre la nouveauté comme seul critère CAPTAIN LICHTFOOT (capitaine mystère) jeudi 4 de qualité. Nous pansons simplement qu'il est bon de remettre art c m usa dimanche .14 certains jugements tenus f:our défi­ nitifs, de se pencher sur Vœuvra de BATT LE HYMN (les ni les de T es p cran ce ) vendredi 5 réalisateurs catab>gués coin nie « mi- mardi 16 naurs », voin: mânte de réhabiliter des « artisans » géniaux. A TIME TO LOVE AN!) A TIME TO DIE samedi 6 Dans cet te optique, il nous a sem­ (le temps d'aimer et le temps de mourir) lundi 15 ble indispensable de vous faire dé­ couvrir on redécouvrir DOUGLAS THE SIGN ÜF THE PAG AN {le signe du païen) dimanche 7 SIRK. jeudi 18 J.-M. CAUSSE IV R ITT EN ON THE W1ND [écrit sur du vent) lundi 8 J.-M. RODON samedi 13 R. TA VERRE animateurs du IMITATION OF LIFE (le mirage de la vie) mardi 9 STUDIO ACTION mercredi 17 INTERLUDE (les amants de salzbourg) mercredi 10 MAGNIFJCENT OBSESSION (le secret jeud i .1.1 mttgni fit/un) I I I I < On rencontre tout le monde ici, dit Pierrot. Sauf la jeune fille que je recherche, dit Léonic. Et qui a peut-être cinq enfants maintenant. » Kuyniond Queneau. cahiers du CINEMA. No 189 i AVRIL 1967 Blanches DOUGLAS SIRK_________________________________________________________________________ ■lombes et vilain monsieur : L’aveugle et le miroir, par Jean-Louis Comolfi 14 Françoise Fabien, Francis ' Entretien avec Douglas Sirk, par Serge Daney et Jean-Louis Noames 19 Blanche et , Maria Latour Biofilmographie, par Patrick Brion et Dominique Rabourdin 26 • Belle de Jour de Luis JACQUES DEMY Bunuel. Les Racines du rêve, par Michel Delahaye , 30 Maurlcio GODARD/DURAS/BERGMAN_____________________________________________________________ Loyola dans Os Fuzls » de De trois films et d'une certaine parole, par André Téchiné 48 Ruy Guerrs. SITUATION DU NOUVEAU CINEMA (SUITE) ~ Entretien avec Ruy Guerra, par Jean-André Fieschi et Jean Narboni____________________ 52 Entretien avec James Ivôry, par Michel Delahaye______________________________________ 57 Sur « Shakespeare Wallah », par Jean Narboni_________________________________________60 ESTHETIQUE (SUITE) « Nana »! ou les deux espaces, par Noël Burch 42 PETIT JOURNAL DU CINEMA Disney, [Mainwaring, Montréal, Tours, Visconti 7 LE CÀHÏÉR CRITIQUE Bresson: : Mouchette. par André S. Labarthe et Sébastien Roulet_____________________63 Tourneur : Pendez-moi haut et court, par Pierre Dubœuf______________________________66 Lefebvre : Le Révolutionnaire, par Michel Delahaye '________________________________ 66 RUBRIQUES Revue de presse___________________________________________________________________ 4 Le Conseil des Dix_____________________________________________________________________ J5 Liste des films sortis à Paris du 8 mars au 4 avril 1967_______________________________72 CAHIERS; DU CINEMA. Revue mensuelle du Cinéma. Administration-Publicité : 6, rua Marbouf, Paria-6*. Rédaction’ : 5, rue Clément-Marot, Pari6-8* - Téléphone ; 359-01-79.______________________________ Comité de rédaction : Jacquet Donlol-Valcroze, Daniel Fllipacchl, Jean-Luc Godard, Pierre Kast, Jac­ quet Rlvette, Roger Thérond, Françol» Truffa ut. Rédacteurs en chef: iean-Louls Comolll, Jean-Loula Glnlbre. M ite en pages : Andréa Bureau. Secrétariat : Jacques Bontemps, Jean-André Fieschi, Jean Narboni. Documentation : Jean-Pierre Blesse. Secrétaire général :Jean Hohman. Directeur de la publi­ cation : Frank Ténot. Lee articles n'engagent que leurs auteurs. Les manuscrits ne sont pas rendus. Tout droits réservés. Copyright by les Editions de l'Etoile._____________________ ______________________ le cahie T e dernier numéro de L'Arc rcalisé par cle soit porté par .sou propre moirvcmcnt. Bernard Pinjjaiid et Pierre Samson Même un film comme Marieuhad a sa est consacré à A lain Resnais. Irritant par logique interne : au montage, nous u<’ons certains côtes (il semble souvent que essaye de modifier la suite des bobines. I»mr les auteurs rien ne valait au cinéma (,'d ii<- ffifift’/jr/ff pas. (...) avant la venue du messie Resuais, ce I ><ins un film comme dans n'importe qui est fâcheux puisque ce n’est assuré­ quelle a'uvre d'art, il me semble que tout ment pas leur avis), ce numéro icnn - doit être lié. Souvent, au montage, je tient les témoignages des principaux col­ me déniantle : «; Çjio.' se passerait-il si laborateurs de Resnais et des propos de j'enle~-ais tel plan? Ou si je le faisais celui-ci qui en esl, on le sait, fort avare. passer après tel autre f » Je dresse une « Longtemps. j'tii il cl este le théâtre. liste tics modifications possibles, en m'in­ Tout a chaut/c le jour où. adolescent, terrogeant sur leurs conséquences. Il y j'ai ;'if La Mou elle. A partir de ce a les dât a il s, et puis il v (J la composi­ moment-hi, je sitis <lcî:enn un spcctalcur tion. Une a'livre peut être très réaliste passionne, et j'ai inc me songé, comme dans les détails, tout en s'appuyant sur tfius ccn.r que le théâtre passionne, à une construction formelle rigoureuse. faire une carrière <!'acteur. I.e théâtre Regardez un tableau de Cézanne : on est une forme de spectacle parmi d'au­ n'a jamais mieux montré la Provence, tres. Je «r fais plis de différence entre le paysage" est rendu avec, une précision, une pièce et certains romans, ceux de un,: sensibilité extrêmes. Un même temps, Robbc-Crillel par exemple, (mi e'est mie composition abstraite, un jeu de tableaux, certaines musiques : le Déluge lignes et de formes. .-J cet égard, la pein­ d'Uccllo, Apollon Musa^ète de Stra- ture non figurative n'a rien changé. Sim­ Ti’inski. Pour jiwi, ee sont toujours des plement, au lieu de partir d'un objet, spectacles. Dans le spectacle, il v a d'une pomme, d'un arbre, on part d'un l'Ulée du mouvement dramatique de l'ac­ premier trait qui est posé arbitrairement tion, de la démonstration même. L'ensei­ et autour duquel d'autres traits s 'o rg a ­ gnement peut être une forme de spec­ nisent ensuite. Le sujet du tableau, c'est tacle. On reproche parfois <r Brecht le tableau lui-méme. d’être trop pédagogue ; j'aime, au con- Peut-être faudrait-il parler d'un réalisme traire, ce jeu de questions et de réponses formaliste, si cet alliage de mots tt un auquel i! nous invite. Le théâtre de sens. J'ai l'impression. quand je tourne, liredit, c'est vraiment du spectacle. Le de m'attacher constamment aux détails. cinéma aussi, bien sûr. Beaucoup d'au­ J'essaie d'être aussi exact, aussi fidèle teurs que j'admire n'entrent pas dans que possible. Mais je ne perds jamais de celle catégorie. Je »r me vois pas adap­ vue l'ensemble, la totalité qui esl celle tant des œuvres de Bal aille, de Miller, ilu film lui-même, parce que je sais que de /.ciris. Nadja est un livre merveilleux, pour communiquer quelque chose, il faut mais je n'accepterais jamais de tourner passer par les formes. Nadja. Nathalie Sarrautc, r» revanche... II v a d'ailleurs toujours un moment, J'oppose spectacle à contemplation, <; dans mes films, où j'éprouve le besoin •méditation. Tout spectacle comporte une ^le briser cette composition, de faire le progression dramatique : exposition, pé­ contraire de ce que j'avais fait jusque-là. ripétie, dénouement. Dans La Guerre est Par exemple, dans Hiroshima, toute la finie, la péripétie, c'est la discussion en­ ha iule sonore est an présent ; mais on tre Dief/o et [es jeunes gens. J'ai pu entend le cri de l'héroïne à Ncvcrs. Dans constater que le publie réagissait tou­ La Guerre, la c<nnêra suit Diego et jours à ce moment du film. Bien sûr. adopte constamment son point de 7:11c, on peut jouer sur la construction dra­ sauf un plan où Diego dort et où Ma­ matique. A cet égard, le cinéma esl rianne s'approche du lit. C'est encore une encore très en retard sur le roman ou façon, sans doute, d'éprouver la solidité la musique. Il reste h eau coup à faire de la construction. pour assouplir le rce.it, en le rendant à T l y a presque 1111 an j'cniettais ici la fois plus subtil et plus naturel. L'ordre même (n° 180) le vœu que la revue dans lequel les iilées ou les images ^as­ l'ilmcritica, que nous aimions, puisse socient dans notre t'spril est rarement continuer à se faire sous un autre nom. chronologique. On pense à imn: chose, C ’est maintenant chose faite. Cette revue puis â une autre qui n'a aucun rapport s'appelle Cinenui e film et nos amis inunéditit avec lu précédente, qui ne la Alhano. Anehisi, Apra, l'accmi, Martclli, suit pas logiquement.
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