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Supplément Spécial N° 10 / Juillet 2014

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Supplément Spécial N° 10 / Juillet 2014 /10 Supplément spécial n° 10 / Juillet 2014 La qualité, ou plutôt l’ineptie de la plupart des films français qui se sont succédé depuis le début de l’année serait-elle proportionnelle à la débâcle critique qui ne cesse de prendre de l’ampleur ? Constat un tantinet exagéré mais une certaine tendance au nivellement par le très très bas s’opère pourtant. Ce n’est pas nouveau que la parole critique concernant le cinéma soit si peu affutée sur le service public, notre consœur L’ouvreuse s’était essayée en 2009 à une immersion intensive d’une semaine dans l’enfer du PAF côté émissions de ciné. Depuis, pas grand chose n’a changé, certaines émissions ont disparu mais globalement une véritable réflexion critique se fait toujours aussi rare. Bien sûr, le net propose une alternative réjouissante car parmi les nombreux sites et blogs se contentant de régurgiter ce que les attachés de presse leur adressent, sont apparus des espaces d’expression tenus par des passionnés livrant leurs réflexions avec une certaine verve et acuité, mais généralement ces sites ne sont pas les mieux référencés ou les plus visités. La quasi absence de développement critique accessible au plus grand nombre est en soi l’illustration de l’échec du service public à formaliser des interstices où pourraient s’épanouir débat et/ou questionnements sur des œuvres présentes ou passées. Si possible quelque chose de plus consistant que la navrante émission « Le Cercle » présentée par Beigbeider où Philippe Rouyer a bien du mal à élever le niveau à lui tout seul... Peut-être que le téléspectateur lambda comme consommateur de films ne veut pas se prendre la tête et les chaînes lui fournissent alors le minimum requis pour se déplacer en salles. Sans doute est-ce la raison pour laquelle l’infomercial le dispute aux avis rapides presque elliptiques. Mais à l’occasion du dernier festival de Cannes nous avons franchi une ultime limite avec les courtes péroraisons de Eric Neuhoff qui rivalisaient de vulgarité et de crétinerie. Envoyé très spécial du quotidien Le Figaro sur la croisette, ces points de vue bas du front se voulaient iconoclastes mais traduisaient un mépris ahurissant et une envie toujours aussi indéfectible de se faire remarquer, lui, en tant que critique. On touchait certes le fond de la cuvette réflexive mais il n’y avait qu’un pas de côté à effectuer pour se purifier le cerveau puisqu’il suffisait de se brancher une fois par semaine le vendredi à 15 heures sur l’antenne de France Inter et se délecter de la remarquable émission de réflexion cinéphilique « Pendant les travaux, le cinéma reste ouvert » animée par les duettistes magnifiques Stéphane Bou et Jean-Baptiste Thoret. Une émission qui parlait de l’actu mais s’articulait surtout autour d’un grand thème, un réalisateur, un genre (le capitalisme, la cinéphilie, James Bond, Michael Mann, John McTiernan, Sidney Lumet...) pour donner la parole à des intervenants maîtrisant le sujet. Érudition, engouement, passion présidaient donc ce rendez-vous hebdomadaire incontournable puisqu’il ne s’adressait pas uniquement aux cinéphiles avertis mais était une formidable porte d’entrée pour les curieux et autres cinéphages désireux d’explorer de nouveaux horizons (les films pré-code, Hal Ashby, Renoir, l’enseignement du cinéma, Ozu, les jeux vidéo, etc.). Une émission qui animait les étés 2012 et 2013, que l’on retrouva dès janvier cette année et qui s’est depuis arrêtée, juste avant l’été d’ailleurs. Malheureusement de façon définitive puisque victime d’une déprogrammation sauvage initiée par la nouvelle directrice des programmes, Laurence Bloch. Ceci dans un souci de redynamisation, de modernisation. C’est sans doute pour cette même raison qu’était annoncée la venue de Nagui. Bloch dont les premiers propos rapportés par un reportage d’intronisation du Monde exhortaient à avoir de l’audace, à être un peu punk (sic). C’en est donc fini de la seule émission qui sortait du lot par ses qualités indéniables et sa volonté d’ouvrir le champ réflexif à une large audience hors des sentiers rebattus et surtout sans que les sujets abordés soient dictés par l’impérieuse nécessité de coller au plus près à l’actu de la semaine. Soit un recul critique exemplaire et nécessaire que le service public a désormais totalement abandonné. Bienvenue dans le désert du réel. Nicolas ZUGASTI Versus – supplément de juillet 2014 | Rédaction / administration : c/o Mix’Art Myrys, 12 rue Ferdinand Lassalle, 31200 Toulouse, France > courriel : [email protected] courriel abonnements : [email protected] | Directeur de la publication : Nicolas Zugasti | Rédacteurs en Chef : Nicolas Zugasti, Éric Nuevo | Rédaction (pour ce supplément) : Stéphane Ledien, Jean- Charles Lemeunier, Julien Taillard, Nicolas Zugasti | Conception graphique (couvertures et pages édito / sommaire) : Le Créatif Volant | Promotion & relations de presse : Dominique Lalande de Dola Communications > courriel : dola@ dolacommunications.com | Tous droits réservés pour le titre, le logo & les textes | Ce supplément est un contenu numérique de la revue « VERSUS – Contrepoint de vue sur le cinéma » (ISSN 1771-1207). Tous deux sont édités par l’association à but non lucratif « VERSUS – Contrepoint de vue sur le cinéma » (loi 1901). Ce supplément gratuit rassemble au format *.pdf tous les articles publiés sur le blog de la revue en avril, mai et juin 2014 (-> http://blog.revueversus.com), sauf ceux concernant le 67e festival de Cannes | www.revueversus.com www.facebook.com/RevueVersus | twitter.com/Revue_Versus Articles parus (pour les lire en ligne sur le blog de la revue, cliquez sur le titre de votre choix) : Collection Bach Films : un Tourneur pas phraseur Community saison 5, épisode 12 – Basic Story : sans histoire Cinéma Bis italien : tout le plaisir est pour nous The Agent de Ryu Seung-wan : Berlin, nid d’espions Le Loup de Wall Street de Martin Scorsese : Wolf creek Godzilla de Gareth Edwards : Lézard et la manière Psycho Killer (The Red Mohawk) de l’auteur Anonyme aux éditions Sonatine : Bienvenue à B Movie Hell X-Men : Days of Future Past de Bryan Singer : Franchise recomposée Scarlet Diva (Bach Films) : Extrême et moderne Asia Le Fouineur d’Ettore Scola (Bach Films) : Pepe le moqueur Analyse Community saison 5 (1ère partie) : Mad Men and Women Analyse Community saison 5 (2e partie) : study hard Le Désert des Tartares de Valerio Zurini : Les soldats de l’armée morte Collection Bach Films : Un Tourneur pas phraseur | Le blog de la revue de cinéma Versus 17/07/14 15:30 Collection Bach Films : Un Tourneur pas phraseur Publié par versusmag11 avril, 2014 (http://versusmag.files.wordpress.com/2014/04/hommage-a-maurice-tourneur-4-dvd.jpg) Maurice Tourneur. Que voilà un nom tombé aujourd’hui dans les culs-de-basse-fosse de la mémoire. C’est à peine si l’on se souvient de son fils Jacques et de son passage glorieux à la RKO. http://blog.revueversus.com/2014/04/11/collection-bach-films-un-tourneur-pas-phraseur/ Page 1 sur 8 Collection Bach Films : Un Tourneur pas phraseur | Le blog de la revue de cinéma Versus 17/07/14 15:30 Mais si ce n’est le même métier et le talent, les deux Tourneur n’ont pas grand chose en commun. Sinon d’avoir tous deux réussi parfaitement leur carrière américaine. Redécouvert dans les années 80 grâce à Patrick Brion qui programme dans son Cinéma de minuit, à la télévision, plusieurs grands films de la seconde période française du cinéaste (entre 1930 et son dernier film, en 1948), Maurice Tourneur a l’avantage d’offrir à l’amateur plusieurs carrières. Ce comédien de théâtre français débute au cinéma dans de petits rôles auprès de Max Linder (en 1912), avant de faire ses premiers pas, dès l’année suivante, sous la casquette de réalisateur. Un des films les plus anciens que l’on connaisse de lui est Les gaités de l’escadron, 1913, d’après Courteline, dont il tournera une version parlante en 1932. Puis il est envoyé aux États-Unis par la société Éclair, troisième maison de production française derrière Gaumont et Pathé. Nous sommes en 1914 et les studios Éclair de Fort Lee brûlent. L’accident ne brise en rien la trajectoire de Maurice Tourneur qui va signer aux États-Unis jusqu’en 1926 une série de films portant incontestablement sa griffe. À ses côtés, parmi ses collaborateurs, d’autres Français se feront un nom en Amérique : les opérateurs Lucien Andriot et René Guissart (qui, après avoir photographié le Ben-Hur de Fred Niblo en 1925, reviendra en France pour réaliser des comédies), le scénariste Charles Maigne, le décorateur Ben Carré. (http://versusmag.files.wordpress.com/2014/04/countyfair.jpg) Ce sont huit de ces films, totalement inédits chez nous (si ce n’est Victory, déjà présent dans la collection Lon Chaney du même éditeur), que Bach Films a réunis dans un coffret de DVD. On y trouve trois films de 1917, The Whip (La casaque verte), The Pride of the Clan (Fille d’Écosse) et The Poor Little Rich Girl (Pauvre petite fille riche), les deux derniers interprétés par Mary http://blog.revueversus.com/2014/04/11/collection-bach-films-un-tourneur-pas-phraseur/ Page 2 sur 8 Collection Bach Films : Un Tourneur pas phraseur | Le blog de la revue de cinéma Versus 17/07/14 15:30 The Poor Little Rich Girl (Pauvre petite fille riche), les deux derniers interprétés par Mary Pickford, grande star de l’époque. Mais aussi The Blue Bird (1918, L’oiseau bleu), Victory (1919, Victoire/Le secret du bonheur), The County Fair (1920), The Last of the Mohicans (1921, Le dernier des Mohicans) et Lorna Doone (1922). Signalons que quatre d’entre eux, The Whip, The Poor Little Rich Girl, The Blue Bird et The Last of the Mohicans, ont été désignés par la United States Library of Congress comme “culturellement signifiants” et, à ce titre, choisis pour être préservés à la National Film Registry.
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