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Buster Keaton Look » Réal La Rochelle Document généré le 28 sept. 2021 00:09 24 images Gros plan sur le « Buster Keaton Look » Réal La Rochelle Numéro 85, hiver 1996–1997 URI : https://id.erudit.org/iderudit/23561ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article La Rochelle, R. (1996). Gros plan sur le « Buster Keaton Look ». 24 images, (85), 36–37. Tous droits réservés © 24 images, 1996 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/ V idéothèque GROS PLAN SUR LE «BUSTER KEATON LOOK» PAR RÉAL LA ROCHELLE ans le beau film Benny & en 1926, ordonnancement qui D Joon (1993, Jeremiah Che- n'est toutefois pas maintenu pour chik), le jeune Sam, innocent et les courts films. Comme l'expli­ lunatique, apparaît pour la pre­ quent les notes du responsable de mière fois dans l'image fugitive collection David Shepard (dans le d'une fenêtre de train, tenant la volume 3), les transferts de cette version anglaise du livre de Ro­ édition vidéo ont été réalisés à bert Benayoun: The Look of partir des meilleurs éléments de Buster Keaton [Le regard de tirage disponibles, au premier chef Buster Keaton]. Sam, joué par ceux de la collection Raymond cet extraordinaire et peu con­ Rohauer, mais aussi de la Library formiste comédien qu'est Johnny of Congress de Washington et de Depp, a en effet, dans son état de la cinémathèque du Museum of funambule poétique et irréaliste, Modem Art de New York. Quel­ une adresse toute sensible pour ques éléments sont teintés, imiter Keaton de même que comme en bleu les scènes noc­ Chaplin, et se tenir dans le monde turnes de The Haunted House d'aujourd'hui tout près de ces fi­ (1921) ou en mélancolique sépia gures emblématiques du temps pour la très belle copie de The du «muet». Ce qui n'empêche General. L'ouverture de Seven nullement Sam d'être contempo­ Chances (1925) est en couleur. rain dans son goût de faire de la musique bruitiste avec divers Le regard et l'art objets, accessoires d'automobiles de Keaton ou ballon de caoutchouc. Mais ce qui domine chez Celui que l'anthologie présente Sam, dans sa rencontre magique comme le cinéaste «au beau visage avec la jeune Joon et son frère et à la personnalité obsédante» se Benny, c'est son empathie très révèle ici sous une triple identité: profonde pour la figure et le per­ comédien, réalisateur, monteur. sonnage de Keaton. Sam serait de Chaplin (que ce dernier trou­ moyens et longs métrages et dix- Le premier est un rare mélange aujourd'hui enchanté de savoir ve moyen de ne même pas nom­ huit courts métrages des années d'acrobate, de clown, de mime et qu'il existe en vidéodisque une mer dans son autobiographie, 1920, décennie de liberté créa­ de funambule, de surcroît marqué formidable et énorme anthologie rappelle le récent livre de Joyce trice et d'autonomie, avant que du signe indélébile du «non- des films de Keaton, The Art of Milton The Tramp), que l'ONF le producteur Joseph M. Schenck sourire», de l'absence absolue de Buster Keaton. a honoré de deux films (The ne «vende» Keaton à la MGM, où rire et de grimace. Seul visage- Railrodder et Buster Keaton ce dernier devra se limiter à jouer sculpture (ou un des rares) du Trois gros volumes, Rides Again). De nos jours, Kea­ des rôles et où il ne trouvera pas cinéma américain et mondial une somme ton est reconnu au moins à l'égal les conditions pour faire le saut (Keaton ne s'est-il pas montré en de l'auteur de Modem Times, et dans le cinéma sonore. Vénus de Milo dans College?), Totalisant dix vidéodisques bour­ on est «très loin» du jugement La division en trois volumes symbiose étonnante entre le glacé rés de films des deux côtés, ces hâtif et sectaire d'un Georges Sa­ permet de suivre l'ordre chro­ de l'expression et le comique éche- trois coffrets, préparés sous la doul: «Keaton est très loin der­ nologique des longs métrages, velé des situations. direction de David Shepard, of­ rière Chaplin» (p. 214 Histoire depuis The Saphead (1920) à Kevin Brownlow (The Pa­ frent la production «indépendan­ du cinéma mondial, Flammarion, Steamboat Bill Jr. de 1928, en rade's Gone By) a souligné com­ te» du grand réalisateur améri­ 1949). passant par Sherlock Jr. et The ment, outre ses qualités de réa­ cain du «muet», contemporain L'anthologie comprend douze Navigator en 1924, The General lisation, l'art de Keaton découle 36 N°85 24 IMAGES d'une grande habileté au mon­ comment dans Sherlock Jr. tains bruitages (cloches, gongs, moderne pour Sherlock Jr. par tage, où la plastique des plans (1924), Keaton projectionniste etc.). Le F otoplayer de cette an­ le Club Foot Orchestra de San (leur composition souvent très pénètre dans un film, puis dans thologie est un rare spécimen Francisco. élaborée) se combine avec des plusieurs, préfigurant brillam­ restauré par Joseph Rinaudo. Par On appréciera d'autant plus effets de montage faisant surgir ment les futurs dérapages de ailleurs, le producteur a eu recours le sauvetage miraculeux et la dif­ des raccords surprenants qui évo­ Hellzapoppin'; ou encore, dans à Gay lord Carter et à John Mûri, fusion de cette anthologie Keaton quent souvent le surréalisme. Un The Playhouse ( 1921 ), le cinéaste deux organistes de cinéma des si on se souvient, comme le sou­ surréalisme sans doute incon­ s'invente, à la manière de Méliès, années 20, pour accompagner ligne David Shepard, que plus de scient, non intellectualisé, mais un Keaton's Opera House où il quelques films. Enfin, une excep­ 80% des films américains du qui ressort du personnage de joue plusieurs personnages: chef tion éblouissante, une partition «muet» sont portés disparus. • cirque, comme par exemple ces d'orchestre et musiciens, choristes, poses du comédien en équilibre diverses têtes du public... Et puis, instable, ou encore ce magnifique dans The Haunted House (1921), RÉFÉRENCES VIDEOGRAPHIOUES plan du General où le jeune hom­ sa satire destructrice de l'opéra me est assis, malheureux et impas­ Faust, une sorte de maquette du Benny & Joon de Jeremiah - Volume 2: 4 disques CLV. The Chechik, MGM/UA Home Video, Boat.The Love Nest, The Frozen sible, sur un bras d'actionnement futur A Night at the Opera des 1993, couleur, stéréo, 98 min.. De North, The Navigator, Seven des roues de la locomotive, que le Marx Brothers. Luxe Letter-Box Edition. 1 disque Chances, Neighbors, The départ du train met en mouve­ La re-sonorisation des films CLV. Complément de la bande- Balloonatic, Go West, The ment sans que l'immobilité de «muets» pose toujours un pro­ annonce originale. Scarecrow, The Paleface, Battling son corps ne soit compromise un blème délicat aux éditeurs d'an­ Butler, The Haunted House, The Blacksmith. Notes de Daniel seul instant. Ce plan sublime, thologies. La grande majorité des The Art of Buster Keaton, direc­ Moews. j'imagine que Bunuel aurait aimé tion éditoriale de David Shepard, bandes sonores ont été confiées Image Entertainment, en coopéra­ - Volume 3: 3 disques CLV. The l'inventer! ici à Robert Israël, qui concocte le tion avec Kino Video et The General, The Playhouse, College, The Art of Buster Keaton style et le ton des partitions an­ Blackhawk Film Collection, 1995. The Electric House, Hard Luck, offre plusieurs heures de prome­ ciennes, se servant tour à tour du Steamboat Bill Jr., Convict 13, nades et de glanages à travers un piano, du violon, d'un petit en­ Volume 1: 3 disques CLV. Com­ Daydreams. Notes de David des opus les plus singuliers de semble orchestral ou encore du prend The Saphead, The High Shepard, Daniel Moews et Joseph Sign, One Week, Tbe Goat, Three Rinaudo. célèbre F otoplayer des années 20, l'art cinématographique. Quel­ Ages, My Wife's Relations, Our ques éclairs en vrac: Three Ages combiné américain ingénieux de Hospitality, Sherlock Jr. Notes de Ces titres sont disponibles à La Boîte (1923), scintillante parodie de piano et de boîte à musique pou­ Joseph Adamson III. Noire. ['Intolerance de Griffith; ou bien vant actionner un orgue et cer­ 24 IMAGES N °85 37 .
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