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Anatole Dauman « Alors, on Se Bat Toujours? » Janine Euvrard Document generated on 09/29/2021 9:54 a.m. 24 images Anatole Dauman « Alors, on se bat toujours? » Janine Euvrard Cinéma et engagement Number 92, Summer 1998 URI: https://id.erudit.org/iderudit/24020ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Euvrard, J. (1998). Anatole Dauman : « Alors, on se bat toujours? ». 24 images, (92), 64–64. Tous droits réservés © 24 images, 1998 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/ v_>< ontrechamp I * ANATOLE DAUMAN /—\ ^ «ALORS, ON SE BAT :»__J_Î - <_(________________ TOUJOURS?» PAR JANINE EUVRARD ^B _________ •— JE_J____^_I_ _ *9 & ___• r ___ _HP '*• l s'appelait Anatole Dauman, le langage cinématographique à se i___! « ___F ___b ' J_____k'~ I je l'appelais Dauman, lui renouveler. Nombre de grands m'appelait toujours Euvrard: «ça cinéastes de l'époque se con­ va, Euvrard? Alors, on se bat tou­ sacraient exclusivement au court jours?» et moi j'aimais ça. Je métrage.» En 1955 Dauman pro­ l'aimais bien, je le respectais. Je duit Nuit et brouillard d'Alain lui dois mes premiers pas dans le Resnais, Paris la nuit de Jacques cinéma, ma carte de «scripte». Il Baratier, en 1959 le premier long n|||^^^ î£. m'encourageait, me trouvait des métrage d'Alain Resnais, Hiro­ L'empire des sens (1976) de Nagisa Oshima. stages. Plus tard, quand Lionel shima mon amour, puis Lannée Rogosin est venu s'installer en dernière à Marienbad (1961), • Europe, que nous nous battions Muriel (1962); d'Agnès Varda, tration des salles pour la pro­ un hommage et Jean-Loup Pas­ pour ressortir ses films et que nous Du côté de la côte (1959); de grammation du cinéma indépen­ sek, conseiller en cinéma du Cen­ avions peu d'argent pour de nou­ Chris Marker, Lettres de Sibérie dant. Dans un article intitulé Ré­ tre, a écrit: «Le fondateur d'Argos velles copies, Dauman nous a fait (1958), La jetée (1962); de Jean flexions sur les multiplexes, il Film a une telle carte de visite cadeau de l'unique copie sous- Rouch, Chronique d'un été souligne que «l'intérêt évident des qu'on est en droit de se demander titrée de Come Back to Africa. (I960); de J.-L. Godard, Deux ensembles de salles n'est pas de quelles bonnes fées se sont pen­ Il est mort le 8 avril au matin ou trois choses que je sais d'elle, rassembler la plus grande variété chées sur son berceau». d'un arrêt cardiaque. Il avait 73 Masculin féminin (1966). Il est possible de spectateurs, mais le ans. le producteur de L'empire des plus grand nombre possible, ce «Producteur européen, Juif polonais d'ascendance sens de Nagisa Oshima (1976), qui suppose à l'évidence une pro­ c'est un homme avec une russe, il était né en 1925. Il arrive du Tambour de Volker Schlôn- grammation aussi homogène que passion et un amour pour cet en France à l'âge de 6 mois; à 16 dorf (1979), de Paris, Texas de possible..., il est donc particu­ impossible métier. Un homme ans il s'engage dans la Résistance Wim Wenders, et la liste est enco­ lièrement pervers de prétendre que enfin qui sait encore parler un et ses services lui valent la Croix re longue. Dauman nous a offert le cinéma d'auteur trouvera dans langage qui relie l'argent de guerre avec étoile d'argent. tant de films que nous aimons. les quelques alvéoles que lui ré­ aux idées et aux images et En 1949, après avoir failli Mais son combat ne s'arrête pas là: serveront les mégacomplexes le qui sait encore en tirer cet monter une maison d'édition de il distribue et diffuse des films de moyen privilégié de survivre». exquis plaisir que l'on nomme livres d'art, il fonde avec Philippe Satyajit Ray, Oshima, Andy War­ Anatole Dauman posait la survie CINÉMA». Lifchitz sa société Argos Film, du hol et Paul Morissey. Plus tard il du cinéma en termes simples: le — Wim Wenders nom d'un géant de la mythologie est vice-président de la Cinéma­ respect de son indépendance. surnommé Panoptès, «celui qui thèque française pendant de lon­ «Lorsque cette indépendance se «J'aime beaucoup Anatole sur voit tout». Elle a pour emblème gues années; il en est le président heurte à l'illégalité d'un état de le plan personnel, mais c'est la chouette. Argos fut d'abord en 1981, leader de l'ancienne gar­ fait qui l'opprime, seul reste le son attitude envers le cinéma l'inspiratrice de courts métrages de selon Langlois. Il ne renouvel­ combat pour le respect de la loi.» qui justifie mon engagement audacieux, qui brisèrent l'acadé­ le pas son mandat d'administra­ Anatole Dauman n'avait pas fondamental à ses côtés». misme et les monopoles profes­ teur en 1990. Il est aussi à la tête que des amis, il s'est souvent — Elia Kazan sionnels pour faire surgir la Nou­ de l'Association française des pro­ retrouvé seul, isolé, abandonné velle Vague à travers des films ducteurs de films (AFPF), le pen­ dans ses luttes. Ses dernières C'est pour cela et pour bien d'art signés Jean Aurel, Pierre dant «indépendant» de la Cham­ années ont été marquées par de d'autres choses encore que nous Kast, Jean Grémillon et Jean bre syndicale des producteurs de lourdes difficultés financières, par l'aimons. Il restera dans nos Mitry. «Je n'insisterai jamais assez films (le syndicat des «gros»). Il l'impossibilité de produire le mémoires, assis à nos côtés dans sur l'importance des courts métra­ avait déclaré la guerre aux «cir­ dernier film d'Elia Kazan Au- ces moments de bonheur exquis ges, disait Dauman, ils ont vu cuits», à la «pensée unique» des delà de la mer Egée, mais il n'a d'une salle obscure, en compagnie leur essor bien avant la Nouvelle Pathé, Gaumont et UGC II ne jamais abandonné le combat et d'Hiroshima... ou de L'empire Vague et constituaient un secteur laissait jamais passer l'occasion de beaucoup l'aimaient. Le centre des sens et il nous chuchotera: permanent de création, obligeant dénoncer les effets de la concen- Georges Pompidou lui a rendu «Alors, on se bat toujours?» • 6-_ N°92 24 IMAGES .
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