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Cris Et Clignotements / Twin Peaks : Fire Walk with Me De David Lynch] Document généré le 26 sept. 2021 12:55 24 images Cris et clignotements Twin Peaks : Fire Walk With Me de David Lynch Jacques Kermabon Numéro 62-63, septembre–octobre 1992 URI : https://id.erudit.org/iderudit/22598ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Kermabon, J. (1992). Compte rendu de [Cris et clignotements / Twin Peaks : Fire Walk With Me de David Lynch]. 24 images, (62-63), 95–95. Tous droits réservés © 24 images inc., 1992 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/ TWIN PEAKS: FIRE WALK WITH ME DE DAVID LYNCH i^^ '"^ | -'^_____K% \ % HIt l Pv________i i ^___> , * P? 1 X F \ < \ J 1 s V V ' _ - U v »«__» *}%JÊ ^^H BB . r __1 ¥l L Laura Palmer (Sheryl Lee). CRIS ET CLIGNOTEMENTS par Jacques Kermabon e n'ai rien vu de la série télé mais la gesticulation de la femme en rouge. Nous que celle à laquelle nous ont accoutumés J version cinématographique de Twin voyons, sans vraiment comprendre, un des années d'activité spectatorielle. Elle Peaks ne permet en rien de comprendre le enchaînement d'actions, de comportements, repose dans son versant caricatural sur une culte qu'elle a suscité auprès des adeptes du de réactions, qui sont au-delà de l'humain. musique lancinante quasi permanente, de petit écran. Faut-il avoir vu celle-là pour Les personnages semblent mus par un écho cris de terreur impromptus, de clignote­ apprécier celle-ci ? La séquence augurale déformé, monstrueux de quelques traits de ments lumineux - souvenir lointain du nous inviterait à répondre non, qui com­ l'humanité. Certes nous suivons le gros de balancier de l'ampoule dans Psychose - et mence sur un générique sur fond de neige l'intrigue - nous comprenons assez vite qui autres effets de lumière, procédés qui pour­ TV et s'achève par l'implosion d'un poste. a tué Laura Palmer - mais en voyant bien raient laisser entendre que Lynch verse Le «film» peut commencer. que là n'est pas l'essentiel. L'on peut con­ délibérément dans la caricature, le second Un peu plus loin, une scène nous sidérer qu'à l'instar du jeune policier, il degré. À quelles fins? Mystère. donne une autre indication. Une femme en nous manque les clés pour saisir le sens et La réponse appartient peut-être aux robe rouge se livre à une gesticulation aussi la fonction de ces rêves - qui semblent, aficionados de la série télé. De même me grotesque qu'énigmatique face à deux malgté leur caractère itératif, ne pas émaner diront-ils s'ils ont été frappés comme moi agents du FBI qui ne bronchent pas. Ils toujours du même personnage - , de cette par la culpabilité qui pèse sur les choses reprennent leur voiture et l'un explique au femme âgée accompagnée d'un enfant mas­ du sexe. La première valeur est l'amitié, novice ce qu'a exprimé cette femme, don­ qué, de la séquence avec David Bowie... Ce l'amour est un mythe, un leurre et le sexe nant le sens de chacun de ses gestes. Chaque sont en tout cas ces moments de mystères, l'incarnation du mal. Drôle d'ordre que détail de son commentaire intervient sur les d'étrangetés absolues, qui relèveraient sans sous-entend le désordre dont la paisible images correspondantes et nous constatons doute d'une interprétation psychanalytique bourgade de Twin Peaks est la proie. • que nous avions effectivement vu mais sans - avis aux amateurs - , qui nous offrent les vraiment voir et surtout sans comprendre parties les plus relevées du film. On peut ces signes, car leur code de transmission faire confiance aux capacités de création nous est étranger. L'inspecteur explique visuelle du réalisateur d'Eraserhead. TWIN PEAKS: FIRE WALK WITH ME tout sauf la rose bleue qui indique, dit-il, Comprenons-nous que nous le regrettons États-Unis 1992. Ré. : David Lynch. See. : David quelque chose qu'il ne peut dévoiler. Blue aussitôt tant l'intérêt en est mince. Lynch et Robert Engels. Ph. : Ron Garcia. Mont. : Rose gardera son secret comme ailleurs le Mary Sweeney. Mus. : Angelo Badalamenti. Encore une fois, ce n'est pas l'intrigue Int. : Sheryl Lee, Moira Kelly, Ray Wise, Kyle fameux Rosebud. le moteur du film. Twin Peaks: Fire Walk MacLachlan, Chris Isaak, David Bowie, Harry Il n'est pas illégitime de penser que With Me carbure à la peur, à l'angoisse Dean Stanton. 135 minutes. Couleur. Dist.: tout le film est à l'image de la mystérieuse diffuse. Pas tant une peur de quelque chose Alliance Vivafilm. 24 IMAGES N- 62-63 95 .
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