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Road Movie » Petit Supplément Au « Cinéma De L’Errance » Pour Annie Goldman Michel Euvrard Document generated on 09/30/2021 6:03 a.m. 24 images Il n’y a plus d’Eldorados ou Les avatars du « road movie » Petit supplément au « cinéma de l’errance » pour Annie Goldman Michel Euvrard Number 37, 1988 URI: https://id.erudit.org/iderudit/22286ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Euvrard, M. (1988). Il n’y a plus d’Eldorados ou Les avatars du « road movie » : petit supplément au « cinéma de l’errance » pour Annie Goldman. 24 images, (37), 30–34. Tous droits réservés © 24 images inc., 1988 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/ IL N'Y A PLUS D'ELDORADOS OU LES AVATARS DU «ROAD MOVIE» PETIT SUPPLEMENT AU «CINEMA DE L'ERRANCE» POUR ANNIE GOLDMAN Ftùdiger vbgler dans Alice dans les villes de Wim Wenders Michel Euvrard e «road movie» peut au même titre les vieux pays. n'est pas le vrai, qui n'apparaît qu'à la fin que le western ou le film noir être du film, et le héros apparent est un faux considéré comme le cinéma améri­ Dans les films de la conquête de l'Ouest, le héros ou les héros partent vers la terre héros, incapable de changer et de s'ac­ cain par excellence; il est la forme complir, auquel doit tôt ou tard s'en substi­ américaine moderne de l'Odyssée, promise, l'Eldorado, la «grande montagne de sucre candi» de la chanson et du titre tuer un autre; à la limite, il n'y a plus Lune version sécularisée de la quête du d'enjeu du tout. du film de Robert Frank et Rudy Wurlitzer, Graal, l'héritier du roman picaresque et Ce n'est pas d'hier que le «road movie» du roman d'éducation. Thématiquement, pour accomplir la «destinée manifeste» des États-Unis; en même temps les incidents a essaimé: La strada et // bldone, ou structurellement sinon chronologiquement, L'angoisse du gardien de but, Alice il succède aux films sur la conquête de du voyage, les obstacles matériels rencon­ trés, faim, soif, froid, tempêtes, attaques dans les villes et Au fil du temps, ou l'Ouest: une fois effectuée la jonction ter­ L'une chante l'autre pas, Sans toit ni restre entre l'Est et l'Ouest du continent, des Indiens, sont autant d'épreuves dont ceux-ci doivent se montrer dignes; ils mar­ loi ou Messidor et quantité de films améri­ quand le Pacifique fut atteint et qu'il n'y cains des années correspondantes au­ eut plus de frontières, le parcours de l'es­ quent les étapes d'une ascèse, d'un par­ cours viril, d'un rite d'initiation au terme raient pu inspirer plus tôt ces réflexions. pace américain put cesser de se faire dans Ce sont quatre productions récentes qui une seule direction, vers une seule desti­ desquels les héros seront devenus des hommes véritables. l'ont fait, Candy Mountain de Robert nation; on pouvait désormais s'y déplacer Frank et Rudy Wurlitzer, Patti Rocks de dans tous les sens, revenir ou tenter de Dans le «road movie», l'enjeu se modifie; David Burton Morris, Sierra Leone de Uwe le faire. Ayant perdu son ancrage géogra­ la destination extérieure, l'objectif histo­ Schrader, et Doc's Kingdom de Robert phique et historique, les objectifs et les rique passent au second plan par rapport Kramer. valeurs qui le sous-tendaient, le genre pou­ à l'expérience, à l'épreuve et à la connais­ vait essaimer n'importe où, même dans sance de soi. À la limite, l'enjeu apparent 30 CANDY MOUNTAIN Kevin O'Connor ulius, jeune bassiste sans em­ Le film entier apparaît alors sous un ploi (et sans talent), est envoyé autre jour, on comprend qu'il était pa­ J par deux promoteurs du «music rodique et que la quête de Julius, business» à la recherche d'un certain entreprise pour les mauvaises rai­ Elmore Silk, disparu depuis des sons, ne pouvait, ne devait pas réus­ années et qu'il prétend (faussement) sir; que si son objet existait en effet avoir connu, avec mission de le rame­ et pouvait être rejoint, il n'en allait Kevin O'Connor et Tom Waits dans Candy Mountain ner à New York, et sinon lui, une des pas moins lui échapper. fabuleuses guitares qu'il fabriquait. En fait ce qui importe, ce n'est pas Tel est le point de départ de Candy que Julius retrouve Silk, c'est que Silk Mountain, de Robert Frank et Rudy échappe à Julius, car c'est Silk qui Wurlitzer(') . Des chutes du Niagara est authentiquement en quête de la jusqu'en... Nouvelle-Ecosse, Julius «grande montagne», et puisqu'il est suit la trace de Silk; d'épreuves en parvenu au bout du monde, au bout épreuves — en Ontario il est détenu de la route, la quête exige maintenant par un vieux shérif, et tout au long de lui cet ultime dépouillement. de la route il doit laisser derrière lui Ce film drôle, inattendu, libre et vaga­ les véhicules comme les chevaliers bond — c'est son charme — est donc tuaient sous eux leur monture — et aussi un film grave et désabusé, une de rencontres en rencontres — le critique sévère et sans appel de la frère (Tom Waits) et la fille de Silk, commercialisation de la musique, et une Indienne chasseuse de cerfs par extension de la culture et de la (Tantoo Cardinal), une ex-compagne société américaines; fidèle à l'esprit de Silk (Bulle Ogier) et sa maîtresse du surréalisme, Robert Frank y livre, actuelle (Jayne Eastwood), une mys­ avec cet humour qui est «la politesse térieuse Japonaise(l) — il le rejoint du désespoir», une manière de testa­ enfin, dans un chalet plein de guitares ment. au bord de la mer, au bout du monde. Mais rien dans les messages (sur cas­ sette) que lui fait écouter Julius ni dans la personne de celui-ci ne peut donner à Silk le goût de retourner à New York: les raisons pour lesquelles on veut qu'il revienne n'ont rien à voir avec la qualité de ses guitares ou l'essence de la musique, il ne s'agit que de valeur marchande, d'ar­ gent, de profit. Aussi, plutôt que d'ac­ cepter les propositions dont Julius est CANDY MOUNTAIN porteur, Silk accepte celles de la Ja­ États-Unis, 1987. Ré.: Robert Frank, Rudy Wurlitzer ponaise: une pension à vie contre See.: Rudy Wurlitzer. Pho.: Pio Corradi. Mon.: Jen­ douze guitares traditionnelles et la nifer Auge. Mus.: Dr John, David Johansen, Arto Lindsay, Leon Redbone, Joe Strummer et autres. promesse de détruire les autres et Int.: Kevin O'Connor, Harris Yulin, Tom Waits, Bulle de ne plus jamais en fabriquer. Ogier. 90 minutes, couleur. Dist.: Cinéma Plus. 31 SIERRA LEONE red dans Sierra Leone de Uwe Rien ne retient donc Fred «chez lui», la nuit, et comme sans y penser à Schrader (dont on a vu au pré­ certainement pas l'hôtel minable où lever le bras et le premier camion qui F cédent Festival du nouveau ci­ il a loué une chambre, ni les charmes s'arrête, à y monter tandis que du néma le premier long métrage, Kana- d'Alma, la femme de chambre, qui même endroit de l'autre côté de la kerbraut), comme Billy dans Patti n'en est pas avare, sur ordre du pa­ route nous allons voir, le camion re­ Rocks, est un prolétaire. Les héros tron, pour les clients. Et comme il parti, derrière les vitres du café Aima des «road movies» sont pour la plu­ s'est acheté une voiture d'occasion, apparaître, échanger quelques mots part des ouvriers, des chômeurs, comme le siège de la compagnie pour avec le vieillard qui tient le bar puis dans les années trente des agricul­ le compte de laquelle il a travaillé en ressortir rassurée par la porte du fond teurs dépossédés de leur terre. Des Sierra Leone est dans une autre ville, vers la chambre. hommes en transit, nomadises par les il part. Rien non plus ne retenait Aima, Curieusement avec tout cela Sierra circonstances, hommes des confins, et elle part avec lui. Leone n'est pas un film déprimant, des terrains vagues, des gares de On a donc affaire ici à une variation c'est un film lourd et plein, imprégné marchandises, des entrepôts désaf­ sur le «road movie»: le héros est un de l'atmosphère des banlieues ou­ fectés, de ces zones indistinctes à la homme mûr, son «éducation» n'est vrières, des hôtels de passe, des ca­ lisière des villes qui mènent aux plus à faire, il est assuré dans son fés minables; l'acier, le ciment, le tra­ plaines vides, aux étendues sans comportement, sûr de ses aptitudes; vail, le bruit, la vie machinale pèsent; bornes que traverse la route — des il n'est plus à la recherche de son les couleur désassorties des papiers hommes parfois au bout de leur route, identité, — il sait, comme il dit, «quelle peints, des tentures, des couvre-lits, comme Doc dans Doc's Kingdom de gueule il a»; plus qu'à Gil Bias ou à les plis des vêtements et des draps Robert Kramer cet après-«road mo­ Wilhelm Meister, il ressemble à investissent l'œil, la présence des vie».
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