Roberto Rossellini Et Ingrid Bergman Bruno Dequen

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Roberto Rossellini Et Ingrid Bergman Bruno Dequen Document généré le 26 sept. 2021 19:45 24 images Le grand questionnement : Roberto Rossellini et Ingrid Bergman Bruno Dequen 50 ans après... Le chat dans le sac et À tout prendre Numéro 166, mars–avril 2014 URI : https://id.erudit.org/iderudit/71191ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article Dequen, B. (2014). Le grand questionnement : Roberto Rossellini et Ingrid Bergman. 24 images, (166), 50–51. Tous droits réservés © 24/30 I/S, 2014 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/ CINÉMA MAISON Le grand questionnement : Roberto Rossellini et Ingrid Bergman par Bruno Dequen R OSSELLINI-BERGMAN. LEUR UNION professionnelle ET personnelle A ÉTÉ L’UNE des plUS commenTÉES de l’histoire du cinéma, et ne cesse de fasciner les cinéphiles. De cette liaison critiquée résulteront en peu de temps (1949- 1954) deux divorces et trois enfants, de même que cinq films démolis par la critique de l’époque et ignorés du public. Quelques jeunes critiques, en particulier dans les Cahiers du cinéma, en décidèrent autrement, et leur persévérance, alliée à l’influence indéniable que certains de ces films auront sur les cinéastes de la modernité, assura à cette collaboration hors- norme entre un artiste européen et une authentique star une place à part dans les annales. i ngrid Bergman dans s tromBoLi de Roberto Rossellini vec son coffret sobrement intitulé Même si le coffret n’est pas avare de était motivée autant par son admiration pour « 3 Films by Roberto Rossellini renseignements concernant la vie privée les films de Rossellini que par un besoin de A Starring Ingrid Bergman », l’éditeur du cinéaste et de sa muse d’un temps, la retrouver une ambition artistique que ses Criterion propose de redécouvrir Stromboli, plupart des commentaires portent plutôt sur rôles ne lui permettaient plus d’assouvir. Europe 51 et Voyage en Italie, les trois l’aspect précurseur d’une telle collaboration Rétrospectivement, il est évident que ce choix premières et plus célèbres collaborations du professionnelle. En effet, la décision d’Ingrid de carrière fut précurseur d’une tendance couple maudit (La peur et Jeanne au bûcher Bergman, alors au sommet de sa popularité, désormais omniprésente dans le star-système. sont les seuls absents). Outre la valeur des de quitter Hollywood afin de partir travailler Toutefois, s’il est devenu monnaie courante œuvres proposées, l’intérêt de l’édition réside sur de « petits » films réalisés par un cinéaste de voir une star apparaître occasionnellement en grande partie dans l’impressionnante italien primé, fut accueillie par une vague dans un film à petit budget ou une réalisation collection de suppléments accompagnant d’incompréhension. Comme le rappelle avec aux ramifications internationales, peu de colla- chacun des films. De la mise en contexte amusement Isabella Rossellini en montrant borations ont joué à ce point sur la présence historique à l’analyse détaillée, en passant l’affiche de Stromboli, les studios ont d’ailleurs même d’une star. En effet, la majorité de ces par les multiples interprétations que ces tout fait pour minimiser le changement radical productions ont tendance à mettre exclusi- films continuent de susciter, aucun angle que venait d’opérer la star : « Raging Island… vement en valeur la performance d’acteur n’a été laissé de côté. Au lieu de simplement Raging Passion ! », pouvait-on lire au dessus au détriment des multiples atouts culturels considérer ces films comme de vieux objets d’un dessin représentant un couple enlacé sur qu’apporte la célébrité. Or, comme le souligne respectables, l’étendue des pistes explorées fond de volcan en éruption. Difficile d’ima- Richard Brody, le sujet des films de Rossellini permet au contraire de réfléchir simultané- giner publicité plus trompeuse ! tourne, en grande partie, autour de la présence ment sur leur importance historique et leur Selon Isabella Rossellini, la décision de même de Bergman et des changements, tant pertinence contemporaine. Bergman de quitter le microcosme californien physiques que psychologiques qu’elle semble 50 24 IMAGES 166 CHEMINS DE TRAVERSE subir. S’il est possible de considérer que ces rappeler aux spectateurs l’imprédictibilité des cher à son auteur, est pour lui l’œuvre la plus films ont préfiguré un certain cinéma hybride, comportements humains. Cette interprétation, exemplaire de cette période puisqu’il s’agit du ce n’est pas tant parce que Rossellini incluait aussi séduisante soit-elle, semble relativement seul film de Rossellini à traiter frontalement de véritables séquences documentaires au sein facile et peu signifiante par rapport aux des problèmes politiques, économiques, de ses fictions (un mythe qu’il fut d’ailleurs réflexions proposées par le film. Pour Laura idéologiques et sociaux de son époque. C’est le premier à déboulonner dans des entrevues) Mulvey et Martin Scorsese, il s’agit au contraire un film ouvertement didactique, dans lequel que parce que ces films semblaient être des d’un véritable miracle rendu possible par le fait Rossellini cherche à donner le plus clairement documentaires sur Bergman elle-même : le que le couple se trouve imprégné pendant son possible son point de vue sur de grands enjeux. récit de son choc culturel dans Stromboli, sa voyage par la culture latine spirituelle. Cette Tout choix de mise en scène et de montage découverte du prolétariat et le développement lecture optimiste et religieuse est d’autant plus est ainsi établi en fonction d’un potentiel de sa conscience sociale dans Europe 51, intéressante qu’elle est à l’opposé des intentions thématique limpide. Or, cette évidence du jusqu’à sa désillusion face au mariage dans exprimées par Rossellini, pour qui le rappro- film, loin de lui nuire, permet à Europe 51 Voyage en Italie. chement du couple n’est qu’une réconciliation de conserver un réel impact de nos jours. En Ceci dit, si cette superposition constante circonstancielle et de courte durée, qui n’est effet, la lucidité du discours et sa profonde d’une lecture biographique sur les fictions rendue possible que par leur peur commune clarté, loin d’être au service d’une vision du devait certainement enrichir l’expérience d’isolement au sein d’une culture étrangère. monde restreinte, permettent à Rossellini de de ces œuvres à l’époque, il ne faudrait pas Une interprétation en phase avec l’amertume remettre en question toutes les idéologies. La négliger la tension palpable entre les intentions dont le film fait preuve par rapport à l’institu- politique de reconstruction, le communisme, du cinéaste et l’impact de sa star. De ce point tion du mariage, et qu’il partage avec ses deux le pouvoir de la religion, et, plus généralement, de vue, Stromboli demeure le film le plus prédécesseurs. le manichéisme de la guerre froide, sont ainsi intéressant. Selon Rossellini, Stromboli est Néanmoins, bien plus que la scène finale démontés par le cinéaste. Même la pure bonté une fable morale portant sur un personnage abrupte et ouverte, qui aura depuis été reprise chrétienne démontrée par Irène, le personnage calculateur, lâche et plein de préjugés, qui sera ad nauseam, c’est davantage la précision de véritable sainte incarnée par Bergman, est ultimement forcé d’apprendre l’humilité devant clinique d’une mise en scène classique qui présentée comme un idéal nécessaire mais la puissance de la nature. Or, cette vision mora- surprend dans Voyage en Italie. Pour un irréalisable dans le monde contemporain. Film lisatrice est sans cesse complexifiée par l’énergie film acclamé par certains comme une œuvre de profonds questionnements qui n’hésite pas et le charisme naturel de Bergman. De plus, la annonçant tout le cinéma moderne, il est à prendre à bras-le-corps les enjeux majeurs taille et la beauté même de l’actrice, qui font troublant d’observer à quel point Rossellini, de son temps, Europe 51 est d’une audace d’elle une sorte de noble géante plongée dans s’il s’est débarrassé du ton mélodramatique et d’une ambition inégalée. Des trois films un monde de lilliputiens, établissent d’entrée de ses premiers films, applique à la lettre les proposés dans ce coffret, il est celui qui méri- de jeu un contraste irréconciliable entre Karin fondements mêmes de la direction d’acteurs à terait le plus une réévaluation et qui suscite et le peuple de Stromboli. Le jeu de Bergman l’américaine. Chaque geste, chaque parole est une véritable question : quel serait l’Europe permet en outre au film d’envelopper son au service du développement psychologique 51 de notre époque ? personnage d’une ambiguïté insoluble fondée des personnages. Bien que le film use volontiers sur un rapport purement physique au monde de digressions apparentes, ces scènes ne sont que Rossellini aurait apparemment volontiers jamais gratuites mais viennent au contraire niée. Or, c’est justement cette part fondamen- compléter le portrait, volontairement binaire, tale d’opacité, alliée à une mise en scène faisant du choc des cultures – et des sexes – que la part belle à l’environnement extérieur, qui tente de faire Rossellini. Dans leur précision permet à Stromboli de demeurer une œuvre d’horloger, certaines séquences n’ont ainsi rien résolument moderne.
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