Réconciliation Et Égarement / Invictus De Clint Eastwood]

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Réconciliation Et Égarement / Invictus De Clint Eastwood] Document généré le 23 sept. 2021 19:49 24 images Réconciliation et égarement Invictus de Clint Eastwood Bruno Dequen Distribution Numéro 146, mars–avril 2010 URI : https://id.erudit.org/iderudit/62784ac 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 Dequen, B. (2010). Compte rendu de [Réconciliation et égarement / Invictus de Clint Eastwood]. 24 images, (146), 60–60. Tous droits réservés © 24/30 I/S, 2010 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/ Invictus de Clint Eastwood Réconciliation et égarement par Bruno Dequen © Warner Bros. Pictures e prime abord, Invictus semblait famille rejeté par ses enfants, homme politi- bidonvilles se jettent dans les bras des une anomalie dans la filmographie que astucieux et calculateur, orateur brillant, policiers blancs et les sourires explosent D récente du réalisateur de Mystic interlocuteur attentif et homme d’une sagesse à l’unisson. River. En effet, si ce récit porteur d’espoir inaltérable, Mandela est d’autant plus pas- Vers la fin du film, une petite scène ano- et de vertu morale sur la victoire sportive sionnant qu’il semble réussir à concrétiser dine semble commenter ce troublant gâchis. et politique qu’a représentée la Coupe du ce qui a presque toujours été refusé aux per- À la veille de la finale de la Coupe du monde monde de rugby de 1995 pour l’Afrique du sonnages eastwoodiens : la possibilité de de rugby de 1995, Nelson Mandela demande Sud proposait un sujet parfaitement adapté changement. Un changement qu’il prépare à son assistante de lui fournir toutes les à un réalisateur de la trempe de Ron Howard, en utilisant à bon escient l’aura d’un passé informations et statistiques disponibles sur qu’allait donc faire le grand peintre de la douloureux qu’il a été capable de transcen- les All Blacks, l’équipe de Nouvelle-Zélande démystification fataliste américaine dans der. Dans son texte récent sur le cinéaste1, favorite du tournoi et adversaire des Sud- cette montagne de bons sentiments afri- notre collègue Pierre Barrette découvrait une Africains. Surprise, l’assistante lui fait remar- cains mettant en vedette Matt Damon ? rupture de ton dans les derniers films d’Eas- quer que son intérêt pour le rugby semble Les premiers plans rassurent et justifient twood dont le « regard apaisé sur le monde » désormais dépasser les raisons sociopoliti- rapidement l’entreprise. Une séquence de permettait « une réconciliation définitive de ques. Mandela, souriant, confirme qu’il s’est jogging matinal permet au cinéaste de met- l’homme et de son mythe », exemplifiée par la effectivement laissé prendre au jeu. C’est tre en avant sa prédilection pour les clairs- finale paradoxale et inhabituellement positive malheureusement aussi le cas d’Eastwood obscurs. Et la figure profondément solitaire de Gran Torino. De ce point de vue, quoi de qui, après une entrée en matière passion- de Nelson Mandela dont le quotidien est mar- plus logique pour le cinéaste que de proposer nante, tombe dans tous les clichés d’un film qué d’un lourd passé s’inscrit naturellement aujourd’hui un portrait de Mandela en per- de sport qui, contrairement à Million Dollar dans la continuité de tous les personnages sonnalité contemporaine représentant à elle Baby, ne dépasse plus son propre genre. eastwoodiens. Ensuite, l’arrivée du nouveau seule la possibilité même de réconciliation? 1. « Le héros et son mythe, le genre et la différence », président dans un bureau où règnent des C’est alors qu’un événement étrange dans 24 images, n° 145, p. 12-15. tensions raciales à peine contenues permet survient. Le film s’éloigne de plus en plus États-Unis, 2009. Ré. : Clint Eastwood. Scé. : Anthony Peckham, de dresser le fascinant portrait d’un peuple de Mandela pour suivre le parcours des d’après John Carlin. Ph. : Tom Stern. Mont. : Joel Cox et Gary Roach. Int. : Morgan Freeman, Matt Damon, Scott Eastwood, hanté par son passé. Cette violente tension Springboks, fameuse équipe sud-africaine Robert Kgoroge. 132 minutes. Dist. : Warner Bros. sous-jacente, qui est le moteur de la première de rugby symbole de l’apartheid et des ten- heure du film, est subtilement observée par sions raciales déchirant le pays. Et, de la er r Atum la caméra souple et discrète d’un cinéaste petite séquence d’entraînement sur fond manifestement dans son élément. Éternel de chanson insipide aux multiples ralentis Dans le précédent numéro (n° 145), une économe, Eastwood privilégie les regards ridicules peuplant le match final, le film erreur s’est glissée dans l’identification de l’auteur du texte sur L’armée du lourds de sous-entendus aux paroles. Mais dérape. Le style devient anonyme, le sen- crime, qui aurait dû être signé Fabien surtout, il scrute sans détour cette figure timentalisme simpliste remplace la com- Philippe. Toutes nos excuses. troublante que représente Mandela. Père de plexité lucide du regard. Les enfants des 6 0 2 4 i m a g e s 1 4 6 24i146_04.indd 60 10-01-25 10:05.
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