Les Bonheurs Inventés De Wes Anderson Daniel Canty

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Les Bonheurs Inventés De Wes Anderson Daniel Canty Document generated on 09/28/2021 2:12 a.m. 24 images La famille de Charlie Brown Les bonheurs inventés de Wes Anderson Daniel Canty Les cinémas nationaux face à la mondialisation — 2e partie Number 122, Summer 2005 URI: https://id.erudit.org/iderudit/5119ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Canty, D. (2005). Review of [La famille de Charlie Brown : les bonheurs inventés de Wes Anderson]. 24 images, (122), 40–41. Tous droits réservés © 24/30 I/S, 2005 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/ LES INVISIBLES La famille de Charlie Brown Les bonheurs inventés de Wes Anderson par Daniel Canty es Anderson n'a tourné que kais, le cinéaste Noah Baumbach, cosigne lui et qu'on pourra se permettre de rejouer treize minutes de cinéma ses scénarios. une scène du Godfather dans le bureau d'un indépendant. En 1994, l'ab­ Wilson, dont l'ironie singulière s'est affi­ directeur d'école. W sence de fonds le contraint à née dans les films d'Anderson, a su se pro­ L'ex-étudiant en philosophie baptise interrompre la réalisation de Bottle Rocket. jeter hors de l'univers parallèle qu'il a créé sa compagnie de production American À Sundance, les producteurs Polly Platt et avec son ami et poursuivre une belle car­ Empirical. Chez lui, la fantaisie, aussi loin James Brooks s'enthousiasment pour le court rière de jeune premier disjoncté. Il conti­ qu'elle pousse, conserve ses racines empiri­ métrage. Deux ans plus tard, la version lon­ nue d'occuper une place centrale dans la ques : dans la confrérie et la transfiguration gue est rejetée par le festival. Le film confond famille d'acteurs du cinéaste. En font aussi ludique de l'expérience américaine vécue. la critique et les auditoires, mais MTV s'en­ partie ses deux frères - Luke, amoureux de Bottle Rocket est une hyperbole sur les mau­ tiche du cinéaste, et Martin Scorsese vante service, et, dans des rôles secondaires de vais coups de banlieusards blasés. Rushmore, cette comédie criminelle à la fois si lointaine musclé, Andrew. La prestation récurrente tourné dans l'école secondaire d'Anderson, et si proche de l'univers de ses mafiosi. de nombreux amis texans dans des rôles de permet au cinéaste d'en déplacer la réalité. Rushmore est produit avec le soutien de soutien fait partie de la signature d'Ander­ The Royal Tenenbaums se déroule dans la Disney. Certains y voient une comédie ado­ son, qui transforme ainsi l'adage « Film what version anticipée de New York d'un immi­ lescente et banlieusarde. Le rire est rarement you know» en « Film what you know with grant texan. The Life Aquatic with Steve admis au cercle des auteurs, mais l'univers whom you know. » Zissou ravive l'émerveillement provoqué par de Rushmore est par trop méticuleux pour Les acteurs qui se greffent au noyau dur de les aventures de Cousteau. se réduire aux attentes familières. Happy la « famille Anderson » sont des interprètes La fidélité d'Anderson ne se limite pas ending : le film remporte le Independent phares des films qui ont pu fasciner les jeunes aux interprètes. Ses collaborateurs du Spirit Award, est reconnu par l'Association coscénaristes. James Caan, Gene Hackman début continuent de l'accompagner : le des critiques de Los Angeles et devient une et Bill Murray incarnent des figures pater­ directeur photo Robert Yeoman, le direc­ anomalie culte. nelles désespérées ou crasses alors qu'Anjelica teur artistique David Wasco et le composi­ Une belle anecdote souligne le don teur Mark Mothersbaugh. Ensemble, ils per­ d'Anderson pour la confusion. Grand fectionnent un langage cinématographique lecteur des chroniques de Pauline Kael dans tangentiel, où l'émotion fait retour au point le New Yorker, il propose à la retraitée un de fuite de l'incongruité. visionnement de Rushmore au cinéplex le Bottle Rocket, entièrement tourné avec plus proche. Son opinion : « I don't know une lentille 27 mm, donne le coup d'envoi à what you've got here, Wes. » La réaction de une cinématographie où l'image s'amalgame Kael s'accorde avec l'excentricité du cinéaste. à l'excentricité des personnages. La photo des Ses films ont un tel coefficient de sympathie films d'Anderson se distingue par la géomé­ qu'on veut immédiatement l'interpeller par trie colorée des cadrages, une propension au son prénom. Et s'ils nous laissent avec des fius/imore(1998). tableau et des mouvements rares et extrême­ sentiments mêlés, ils assument leur décalage ment précis. Chacun des films en appelle à la avec une candeur quasi enfantine. Huston, Seymour Cassel, Danny Glover ou création, détail par détail, d'un univers sin­ On veut souvent associer Anderson le Murray des Tenenbaums subissent leurs gulier. La banlieue minimaliste et ensoleillée aux jeunes auteurs de sa génération, mais écarts avec une sorte de béatitude miséri­ de Bottle Rocket n'est pas si lointaine de son cinéma continue pour lui de se faire cordieuse. Anderson diversifie sa palette l'école automnale de Rushmore, de la man­ en famille, et entre amis. Anderson, né à d'interprètes avec l'instinct de casting d'un sion new-yorkaise des Royal Tenenbaums Houston au Texas en 1969, étudiait la phi­ cinéphile. Pour incarner les membres de la ou du vaisseau de The Life Aquatic with losophie à l'université d'Austin et rêvait famille de génies déchus des Tenenbaums, Steve Zissou. Ces lieux existent dans une d'écrire, mais il redoutait la solitude essen­ il fait appel aux « enfants » de dynasties ciné­ sorte de hors-temps. Décors de nos vies invé­ tielle du métier. Il apprend à faire des films matographiques : Ben Stiller, Gwyneth cues, on les dirait imaginés dans l'expecta­ comme on rassemble une gang pour s'in­ Paltrow, Huston. Et s'il choisit, à l'abou­ tive enfantine de la vie adulte. Les salopettes venter un jeu. L'univers de ses trois premiers tissement de 1 800 auditions, le neveu de jaunes de Dignan, les complets d'écolier de films prend forme avec la complicité d'Owen Francis Ford Coppola, Jason Schwartzman, Max Fischer, les costumes des Tenenbaums, Wilson, qu'il rencontre dans un atelier de pour jouer Max Fischer dans Rushmore, les tuques rouges, speedos et scaphandres dramaturgie. Aujourd'hui, un ami new-yor­ c'est que le cinéma parle d'instinct à travers de Zissou assortissent les personnages à la 40 N°122 24 IMAGES règle de leur monde. L'évidence quasi sur­ perfection de son geste. Ses amours mêlés ner habiter chez leur mère. L'équipage du réaliste des décors et des costumes nourrit pour Rosemary Cross et Margaret Wang rap­ Belafonte est une famille multiculturelle et justifie les comportements les plus impro­ pellent la relation de Charles à la petite fille recomposée qui préfère s'inventer des aven­ bables. Les trames musicales douces-amè- rousse et à Peppermint Patty. Les films de tures plutôt que de pratiquer honnêtement res, puisant dans le répertoire de la British Wes Anderson mettent en scène des person­ l'océanographie. Invasion, sont cimentées par l'entrain com­ nages qui sont aussi têtus que leurs espoirs Dans une entrevue, le cinéaste fait remon­ plexe des ritournelles synthético-classiques sont démesurés. On pourrait les voir comme ter son impulsion à créer des univers fantai­ de l'ex-Devo Mothersbaugh. Le laconisme les fils exaltés de ce bon vieux Charlie Brown, sistes au divorce de ses parents. Il se trans­ lyrique des trames sonores épouse parfaite­ monstres de volonté à l'image de leur père fic­ forme alors en menteur invétéré et inoffensif, ment le caractère et les epiphanies des per­ tif, mais assez lucides pour assumer la part de prétend être riche et passe ses jours à dessi­ sonnages. grâce et la part d'égoïsme de leurs erreurs. ner les châteaux où il n'habite pas2. Frustrés La famille de collaborateurs avec qui À l'instar de Peanuts, Bottle Rocketamorce dans leur quête du bonheur, les personnages Wes Anderson tourne se double d'une famille une longue réflexion sur l'aspiration au bon­ d'Anderson n'abandonnent à aucun prix leur d'influences dont on pourrait retracer les heur et l'incompatibilité des passions fami­ idéal. Entre le bonheur perdu et le bonheur généalogies enchevêtrées à travers ses films. liales, amicales, professionnelles et amoureu­ retrouvé, ces menteurs sympathiques et pro­ Son cinéma amical puise dans ses enthousias­ ses. S'enfonçant aveuglément dans la faille fondément honnêtes s'engagent sur une troi­ mes littéraires, artistiques et cinématographi­ entre leurs attentes et la promesse du monde, sième voie : celle du bonheur inventé. ques comme dans un coffre à jouets. Chez les égarés d'Anderson ravagent leur entou­ Entre mensonge et héroïsme latent, ils lui, comprendre l'imaginaire et la mémoire, rage sans s'excuser. Une fois leurs relations apprennent à combler la distance à soi. c'est les reprendre. Ses films sont tissés en parts anéanties, ils réapprennent à vivre ensem­ Chacun des films d'Anderson se conclut sur égales de réalité brute, d'improbabilité assu­ ble. Ces personnages ressemblent à de grands un happy eW/'«galambiqué, triste et heureux mée et de fiction vécue.
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