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Otto Preminger Jean-Pierre Lefebvre Document generated on 09/28/2021 4:38 p.m. Séquences La revue de cinéma Réalisateur en vedette Otto Preminger Jean-Pierre Lefebvre Number 26, October 1961 URI: https://id.erudit.org/iderudit/52066ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Lefebvre, J.-P. (1961). Réalisateur en vedette : Otto Preminger. Séquences, (26), 31–31. Tous droits réservés © La revue Séquences Inc., 1961 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ réalisateur en vedette Certains vous diront qu'ils ne films, c'est-à dire par des histoires. croient pas au talent de Preminger; Et ces histoires je n'ai pas de règle d'autres, au contraire, affirmeront pour les choisir, mais je crois qu'el­ que ce que l'on pourrait appeler le les ont toutes, d equelque manière, fl "siyle" de Preminger, et qui est pré­ leur vérité." ) cisément une absence de stylisation, atteste le génie du réalisateur amé­ Preminger ne posera donc jamais ricain qui ne s'est pas confiné aux un problème — qu'il soit celui de Otto Prewnyer règles de grammaire mais s'est as­ la drogue (Man with the Golden suré — un peu à cause de ses anté­ Arm), celui de la justice (Anatomy cédents théâtraux — d'une maîtrise FILMOGRAPHIE DE PREMINGER of a Murder) ou celui de la race incomparable dans la mise en scè­ 1936 Under Your Spell juive (Exodus) — en termes de ne. N'oublions pas que certains de 1937 Danger, Love at Work philosophie : le "fait" humain tel 1942 Margin for Error nos plus grands cinéastes (ne nom­ quel, reconstruit d'une certaine fa­ 1944 In the Meantime, Darling mons que Welles, Bergman et Laura çon pour des besoins de compré­ Ophûls) viennent du théâtre. Il y a 1945 A Royal Scandal hension, dé gage nécessairement (Scandale à la cour) là plus que simple coïncidence, et Fallen Angel une vérité, naturelle ou surnaturel­ (Crime passionnel) ce que le jeune cinéma français doit Centennial Summer le ; ce qui est important, c'est de 1946 à sa liberté d'esprit, le cinéma amé­ 1947 Forever Amber montrer clairement ce fait, de le (Ambre) ricain le doit à la mise en scène. Daisy Kenyon présenter avec habileté, logique, (Femme ou maîtresse) honnêteté et probité. 1948 That Lady in Ermine ( La Dame au manteau Otto Preminger, né à Vienne le d'hermine) The Fan 5 décembre 1906 et passé d'Autri­ ( L'éventail de Lady Preminger semble avoir tous les Windermere ) che en Amérique en 1934, à com­ talents : licencié en Droit et en Phi- 1949 Whirlpool pilé dans son oeuvre toutes les ten­ (Le mystérieux Dr Korvo) losaphie, il a fait plus d'une cin­ dances esthétiques et morales d'un 1950 Where the Sidewalk Ends quantaine de mises en scène de thé­ (Marc Dixon, détective) certain cinéma américain dont font The 13th Letter âtre à Vienne et plusieurs autres à partie des auteurs aussi différents 1952 Angel Face Broadway ; acteur dans de nom­ (Un si doux Visage) que Mankiewicz, Huston, Minelli breux films (dont Stalag 17), réa­ 1953 The Moon Is Blue et Nicholas Ray. Outre le primat de 'La lune était b'eue) lisateur, il est de plus devenu son River of No RetuYn la mise en scène dans l'oeuvre de (Rivière sans retour) propre producteur et a pris en main Preminger, celui du scénario, de 1954 : Carmen Jones la publicité de ses films — faite 1955 The Court Martial of Billy l'histoire ajoute à sa valeur repré- Mitchell avec intelligence et la sobriété que (Condamné au silence) sentative. "Je suis d'abord un hom­ The Man with the Golden Arm l'on sait. (L'homme au bras d'or) me qui fait des films. Mon idéal 1957 • Saint Joan c'est de m exprimer — le mot est (Sainte Jeanne) Bonjour Tristesse peut-être prétentieux — par des J. P. L. 1958 : Porgy and Bess 1959 : Anatomy of a Murder (Autopsie d'un meurtre) 1960 : Exodus O) Les Cahiers du Cinéma, «Entre tîen avec Otto Preminger», no 121, p. 9. Octobre 1961 31 .
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