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West Side Story WEST SIDE STORY de Robert Wise et Jerome Lobbins – Etats-Unis – 1961 2 h 32 – Noir et blanc Un dossier réalisé par Nathan Renaud l'espace Histoire-Image de la médiathèque de Pessac dans le cadre des Ciné-Mémoires de l'Association des cinémas de proximité en Aquitaine (ACPA) et du Pôle régional d'éducation artistique et de formation au cinéma et à l'audiovisuel - Aquitaine Scénario : Ernest Lehman Adaptation : d’après « Roméo et Juliette » de William Shakespeare et d’après la comédie musicale de Leonard Bernstein, Stephen Sondheim et Arthur Laurents Production : Mirisch Pictures, Seven Arts Productions Inc. / Robert Wise, Saul Chaplin Directeur de production : Allen K. Wood Directeur de la photographie : Daniel L. Fapp Musique : Leonard Bernstein Paroles : Stephen Sondheim Son : Murray Spivack Interprétation des chansons : Marni Nixon, Jimmy Bryant Chorégraphie : Jerome Robbins Direction artistique : Boris Leven Décor : Victor A. Gangelin Costumes : Irene Sharaff Assistant réalisateur : Robert Relvea, Jerome M. Siegel Montage : Marshall M. Borden Effets spéciaux : Linwood G. Dunn Création générique : Saul Bass Dates de tournage : mars – juillet 1960 à Los Angeles et New York Sortie en France le 02 mars 1962 Interprétation Natalie Wood : Maria Simon Oakland : Schrank Richard Beymer : Tony Ned Glass : Doc Russ Tamblyn : Riff William Bramley : Officier Krupke Rita Moreno : Anita John Astin : Glad Hand Georges Chakiris : Bernardo Penny Stanton : Madame Lucia Dossier documentaire – Espace Histoire-Image – Médiathèque de Pessac - 1- Résumé Les quartiers du West Side à New York. Deux bandes rivales se disputent les rues : les Jets, des blancs dirigés par Riff, et les Sharks, des immigrants portoricains qu’entraîne Bernardo. Tony, le meilleur ami de Riff, lui-même ancien chef des Jets, s’éprend de Maria, la propre sœur de Bernardo, rencontrée au cours d’un bal. Tony et Maria se revoient et comprennent qu’ils s’aiment. Mais les deux bandes décident de s’affronter en terrain neutre. Tony cherche en vain à calmer les adversaires. Bernardo tue Riff. Tony s’empare de l’arme et poignarde Bernardo. Anita, l’amie de Bernardo, est maltraitée par les Jets. Elle fait alors croire que Maria a été tuée par Chino. Désespéré, Tony part à la recherche de Chino pour venger celle qu’il aime. Mais Chino le tue d’un coup de revolver. Maria se jette sur le corps de Tony alors que les gangs se réconcilient. Patrick Brion, La comédie musicale Dossier documentaire – Espace Histoire-Image – Médiathèque de Pessac - 2- Bio-filmographies Robert Wise cinéaste américain, 1914 – 2005 (USA) S’il y a bien un trait caractéristique présent dans l’œuvre de Robert Wise, c’est son attachement à la condition humaine, l'observation et la critique des phénomènes politiques, sociaux et historiques auxquels ce dernier est confronté dans son existence. Et la grande force de Robert Wise est d’avoir presque toujours su intégrer ces nobles préoccupations dans des films à vocation spectaculaire qui avaient pour but premier de divertir le public. Certes, Wise ne fut pas le seul cinéaste à manifester ce type de volonté, mais peu d’artistes de son calibre s’y sont attelés avec autant de réussites dans tous les genres cinématographiques. De l’univers interlope du film noir et des tréfonds de l’âme humaine (Criminal Court, Né pour tuer, The Captive City et surtout Le Coup de l’escalier avec son traitement indirect du racisme) jusqu’à la science fiction métaphysique (Star Trek The Movie), en passant par le western à la tonalité assez sombre (Ciel rouge, La Loi de la prairie) la condition des marginaux et des immigrés dans notre société occidentale traduite par la violence et la confrontation des corps (Nous avons gagné ce soir, Marqué par la haine, West Side Story), la satire politique (Something for the Birds), le « Woman’s Picture » (Secrets de femmes, Femmes coupables), le regard incisif sur les arcanes du pouvoir (La Tour des ambitieux), le pacifisme clairvoyant mais désenchanté et le danger des armes de destruction massive (Le Jour où la Terre s’arrêta, Le Mystère Andromède), la comédie de mœurs (Cette nuit ou jamais), le film de guerre nerveux dépourvu de tout manichéisme (Les Rats du désert, Destination Gobi, L’Odyssée du sous-marin Nerka) qui rejoint parfois la fresque historique ample et désespérée (le superbe La Canonnière du Yang-Tsé), la peine de mort (Je veux vivre !), le drame romantique (le méconnu et émouvant Deux sur la balançoire, le modeste Brève rencontre à Paris), le film d’aventures historique (les très moyens Hélène de Troie et Odyssée du Hindenbourg) la comédie musicale d’une grande modernité par son approche formelle et son ancrage dans une perspective sociale et/ou historique (West Side Story bien sûr, La Mélodie du bonheur, Star) et le film d’épouvante (Le Récupérateur de cadavres, le génial La Maison du Diable, l’effrayant mais inégal Audrey Rose). La plupart des titres parlent d’eux-mêmes ; si la carrière de Robert Wise demeure inégale, elle reste éminemment riche en grands films et quelques chef-d’œuvres indémodables. Robert Wise, enfant de la Grande Dépression, dut cesser ses études et suivit son frère employé à la RKO. Il entra à dix-neuf ans dans le département montage du studio et dut s’occuper de maintes petites taches peu glorieuses en tant qu’assistant débutant. Il fit son apprentissage du montage en se consacrant à la musique et aux effets sonores (il travaillât sur Top Hat, Le Mouchard et La Joyeuse divorcée). S’ennuyant dans ce domaine, il eut l’audace de demander à son supérieur de passer au montage image. C’est ainsi qu’il fit ses preuves dans l’assistanat auprès d’un grand professionnel avant de devenir enfin chef monteur. Après cinq films, il se retrouva au générique de Citizen Kane (1941) (grâce auquel il reçut une nomination aux Oscars) et poursuivit sa collaboration avec Orson Welles avec La Splendeur des Amberson (1942), une « collaboration à distance » car le Studio fit remonter le film suite à des projections tests catastrophiques, alors que Welles se trouvait en repérages à l’étranger. Robert Wise Dossier documentaire – Espace Histoire-Image – Médiathèque de Pessac - 3- passa à la réalisation en 1944 en remplaçant le réalisateur Gunther von Fritsch sur le plateau de La Malédiction des hommes-chats, une « fausse » suite de La Féline de Jacques Tourneur. Ce faisant, il entre dans l’écurie Val Lewton pour qui il réalise le singulier Récupérateur de cadavres (The Body Snatcher, 1945) avec Boris Karloff et Bela Lugosi. Wise devient définitivement un « filmmaker » et gagne peu à peu en assurance puisqu’il sera souvent à l’origine de ses projets filmiques. Influencé par Orson Welles, pour qui il voue une admiration sans bornes, il s’intéresse à la carrière d’autres grands cinéastes pour qui il a un profond respect : William Wyler, John Ford ou Joseph L. Mankiewicz. Un fois sa carrière lancée, il aura la chance d’évoluer au sein du système des studios sans pâtir de ses mauvais aspects (dictature des producteurs, licenciements, remontage des films) et finira même par devenir son propre producteur. La grande variété des genres cinématographiques abordés par Robert Wise rend ardu la mise en perspective d’un style visuel affirmé. Ce cinéaste déjoue ainsi les schémas traditionnels de l’analyse de films (dont nous sommes parfois tous à la fois les victimes et les fautifs) car ses meilleures réalisations - le survol de sa filmographie démontre que les grands films l’emportent largement sur les médiocres - brillent d’un éclat aussi fort que les plus grandes œuvres de ses contemporains bien plus célébrés par la critique. Les préoccupations politiques mentionnées plus haut, l’étude détaillée du milieu social décrit par le scénario (Wise était également connu pour effectuer des recherches précises sur les sujets qu’il devait traiter), alliées à son sens du découpage et de l’espace (cf. West Side Story ou Le Coup de l’escalier) et du rythme du à ses talents de monteur (cf. Nous avons gagné ce soir ou Marqué par la haine ou Star !). Toutes ses grandes productions semblent avoir trouvé le meilleur traitement possible selon la thématique abordée. Si cet aspect de son travail n’indique pas directement l’empreinte d’un « auteur », elle démontre néanmoins une mainmise exceptionnelle sur son sujet qui fait de Wise l’un des meilleurs « artisans » américains (à l’instar d’un Richard Fleischer), qu’il conviendrait de réévaluer et ne plus considérer comme un « technicien doué » (une expression à la limite de l’injure). Un artisan qui ne craint pas de surprendre son public par quelques expérimentations formelles qui tiennent à la fois de l’ambition artistique et d’un certain sens de la pédagogie : Le Mystère Andromède (The Andromeda Strain, 1971) en est peut-être le meilleur exemple. De même, Robert Wise fut le seul cinéaste à oser mêler le style de Orson Welles à celui de Alfred Hitchcock pour l’un de ses chefs- d’œuvre : La Maison du Diable (The Haunting, 1963), qui témoigne d’autre part d’une réelle originalité dans son traitement sonore (ses jeunes années de formation à la RKO y sont sans doute pour beaucoup. Les nombreux hommages qui ne tarderont pas à affluer risquent dans la grande majorité des cas de se limiter à la célébration de La Mélodie du bonheur (The Sound of Music, 1964) et surtout de West Side Story (1961). Il n’est pas dans la volonté de cet article de minimiser l’importance de ces deux films magnifiques. Sur un plan historique comme artistique, West Side Story est l’exemple le plus convaincant de l’apparition de la modernité dans la comédie musicale américaine ; l’osmose entre la chorégraphie de Jerome Robbins et la mise en scène de Wise atteint une perfection plastique et rythmique jamais égalée.
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