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Xp. Livret Ciné AURORE West Side Story Un film de Jerome Robbins et de Robert Wise LYCÉENS SOMMAIRE ET APPRENTIS 1 AU CINÉMA 08/09 Sommaire Mise en scène 26 Les dossiers pédagogiques et les fiches-élèves de MAQUETTE : BUENAVISTA Écritures l’opération Lycéens et apprentis au cinéma en « La plus grande partition Région Rhône-Alpes sont édités par l’AcrirA et ACRIRA : de comédie musicale l’Université Lumière-Lyon 2 avec le soutien de la Association des cinémas de recherche jamais portée Région Rhône-Alpes. indépendants de la région alpine à l’écran » 159, cours Berriat - 38000 Grenoble RÉDACTEUR EN CHEF : Rémi Fontanel, maître de Téléphone : 04 72 61 17 65 Éclairages et perspectives 36 conférences en « Études cinématographiques et Télécopie : 04 76 21 06 54 Un récit d’apprentissage audiovisuelles » à l’Université Lumière-Lyon 2. Mél. : [email protected] pour jeunes citadins Générique et Synopsis 3 COORDINATEUR ÉDITORIAL : Jean-François Buiré, COORDINATION DES DOSSIERS : Extérieur film 40 cinéaste, critique de cinéma et enseignant en Christine Desrumeaux-Thirion (AcrirA) et Région Avant-propos 4 Extension du domaine Voyez comme on danse « Études cinématographiques et audiovisuelles » à Rhône-Alpes – Direction de la culture, Direction de la scène l’Université Lumière-Lyon 2. de la communication. Cinéastes, films et chorégraphies 5 Mister Robbins et Docteur Wise Documents 42 AUTEURS : Jean-François Buiré, avec le concours Dossier West Side Story © AcrirA « Un important témoignage de Marie-Noëlle Chatry et de Benjamin Labé. sur l’art américain » Équipe et histoire du film 9 D’Est en Ouest, historique À voir - À lire - À écouter RÉDACTEURS DES « MOTS-CLÉS » ET « ATELIERS » : Marie-Noëlle Chatry et Jean-François Buiré. Personnages / Acteurs 15 Remerciements à Alban Liebl et à Bruno Thévenon, Le récit 19 de l’Institut Lumière. Découpage séquentiel Analyse du récit Mot-clé Atelier Avec le concours des Rectorats de Lyon et de Grenoble, de la DRAF Rhône-Alpes, Ministre de l’Institut Lumière, de Rhône-Alpes Cinéma CultureCulture et des salles de cinéma. CommunicationCommunication < LYCÉENS SOMMAIRE ET APPRENTIS 2 < AU CINÉMA 08/09 Générique et Synopsis Générique Synopsis West Side Story … et filles : Susan Oakes (Anybodys), Gina New York, fin des années 1950. Deux bandes Trikonis (Graziella), Carole d’Andrea (Velma) se disputent un quartier du West Side : les Jets, - les Sharks, garçons : Jose de Vega (Chino), USA, 1961 « natifs », et les Sharks, immigrés portoricains. Jay Norman (Pepe), Gus Trikonis (Indio), Schrank, un policier raciste, tente d’empêcher Eddie Verso (Juano), Jaime Rogers (Loco), Réalisation : Jerome Robbins et Robert Wise Larry Roquemore (Rocco), Robert Thompson leurs rixes. Le leader des Jets, Riff, décide de Chorégraphie : Jerome Robbins (Luis), Nick Covacevich (Toro), Rudy del liquider le conflit en une seule fois. Bien que Scénario : : Ernest Lehman, d’après le livret du spectacle écrit par Arthur Laurents sur une Campo (Del Campo), Andre Tayir (Chile) Tony, avec lequel il fonda les Jets, travaille et idée de Jerome Robbins, inspirée de Roméo et … et filles : Yvonne Othon (Consuelo), Suzie attende désormais autre chose de la vie, Riff le Juliette de William Shakespeare Kaye (Rosalia), Joanne Miya (Francisca) convainc de venir au bal où il doit annoncer à Musique : Leonard Bernstein Bernardo, le leader des Sharks, ce combat Paroles des chansons : Stephen Sondheim Doublage des chants : décisif. Marni Nixon (Maria), Jimmy Bryant (Tony), Directeur de la photographie : Daniel L. Fapp Tucker Smith (Riff pour la chanson The Jet Au bal se rendent aussi Anita, la fiancée de Ingénieurs du son : Fred Hynes et Gordon Sawyer Song), Betty Wand (Anita pour les chansons Bernardo, et la jeune sœur de celui-ci, Maria, Direction musicale : Johnny Green : Boris Leven A Boy Like That et I Have a Love) fraîchement arrivée de Porto Rico pour épouser Direction artistique Chino, qu’elle n’aime pas. Au milieu des danseurs, Chef décorateur : Victor Gangelin Chef costumière : Irene Sharaff Récompenses aux États-Unis : Maria et Tony ont le coup de foudre, à la fureur Academy Awards (Oscars) 1961 : Effets photographiques : Linwood Dunn de Bernardo. Ayant promis à Maria d’empêcher - Meilleur film Générique de fin et affiche : Saul Bass le combat entre les deux bandes, Tony tente de - Meilleure réalisation : Jerome Robbins Casting : Lynn Stalmaster s’interposer, mais cela tourne mal : Bernardo et Robert Wise Montage image : Thomas Stanford - Meilleur second rôle féminin : Rita Moreno tue Riff et, sous l’empire de la rage, Tony tue Montage son : Gilbert Marchant - Meilleur second rôle masculin : Bernardo. Montage musique : Richard Carruth George Chakiris Tony va chez Maria la supplier de lui pardonner. Durée cinéma : 152 min. (vidéo : 147 min.) - Meilleure photographie en couleurs : Lorsque Anita en deuil découvre qu’ils sont er Daniel L. Fapp Sortie en salle : 18 octobre 1961 (USA), 1 mars devenus amants en cette nuit tragique, elle 1962 (France) - Meilleure direction artistique en couleurs : passe de l’indignation à la compréhension, au Boris Leven (direction artistique) et Victor Données techniques : Format image : Super point d’accepter d’aller à la place de Maria, Gangelin (décors) Panavision 70 (70 mm, ratio 2.20:1), Couleur : retenue par Schrank, prévenir Tony que Chino Technicolor, Son : stéréo six pistes magnétiques - Meilleur son : Fred Hynes et Gordon Sawyer - Meilleure bande son pour un film musical : le cherche pour le tuer. Mais les Jets lui Production : Robert Wise, Saul Chaplin et Walter Mirish pour Mirish Pictures et Seven Saul Chaplin, Johnny Green, Sid Ramin et refusent d’accéder à Tony, et la violentent. Arts Productions Irwin Kostal Excédée, elle délivre un faux message : Chino, - Meilleur montage image : Thomas Stanford Distribution (1961) : United Artists jaloux, aurait tué Maria. Ayant appris cette - Meilleurs costumes pour un film en couleurs : Distribution en France (2008) : Carlotta Films nouvelle mensongère, Tony désespéré erre Irene Sharaff dans les rues, appelant Chino à le tuer aussi. - Prix spécial : Jerome Robbins pour « sa Interprétation : brillante réussite dans l’art de la chorégraphie » Au moment où il voit Maria bien vivante qui Natalie Wood (Maria), Richard Beymer (Tony), vient à lui, Chino surgit et lui tire dessus. Tony Russ Tamblyn (Riff), Rita Moreno (Anita), George Chakiris (Bernardo), Simon Oakland Le film fut également primé à divers titres meurt dans les bras de Maria, qui jette (Schrank), Ned Glass (Doc), William Bramley aux Grammy Awards, aux Laurel Awards, aux l’anathème sur les deux bandes. Au lieu de (Krupke) New York Film Critics Circle Awards, par la s’empoigner de nouveau, Jets et Sharks - les Jets, garçons : Tucker Smith (Ice), Tony Directors Guild of America et par la Writers s’unissent pour emmener le corps du jeune Mordente (Action), David Winters (A-rab), Guild of America en 1961, et aux Golden homme. Eliot Feld (Baby John), Bert Michaels (Snowboy), Globes en 1962. David Bean (Tiger), Robert Banas (Joyboy), Scooter Teague (Big Deal), Harvey Hohnecker (Mouthpiece), Tommy Abbott (Gee-Tar) < LYCÉENS SOMMAIRE ET APPRENTIS 3 < AU CINÉMA 08/09 Avant-propos Voyez comme on danse West Side Story présente le Wise, l’audace et la convention, drait-il regarder du côté du paradoxe d’une extraordinaire la langue de Shakespeare et cinéma indien, par exemple conjonction de talents, telle celle du West Side, l’Amérique de Devdas : nous sommes ici que Broadway puis Hollywood et le reste du monde, etc. dans le domaine du spectacle en connurent rarement, qui Mais le « positif du négatif », cinématographique, au sens engendra pourtant une œuvre c’est ce qui subsiste malgré le plus noble de l’expression, de bruit et de fureur où un tout de cette belle communion et, de ce point de vue, seules groupe n’existe que pour s’op- artistique initiale, au-delà du les cinématographies de poser à un autre groupe, et où tragique des amours d’une Bombay et de Hollywood les forces de l’amour, aussi Juliette et d’un Roméo new- peuvent se comparer. À chaque émouvantes soient-elles, yorkais. Quel que soit le fois que le cinéma se pose semblent bien faibles face à jugement que l’on porte sur le avec une exigence réelle la celles de la haine. Une telle film dans son entier, il faut question du spectacle, celle-ci antinomie a pu se constater sans doute remonter tout au perd toute futilité pour rede- ailleurs (tous les grands films début du cinéma sonore, et à venir une donnée cruciale de de guerre en relèvent), mais Hallelujah de King Vidor, pour l’expérience humaine. Depuis rarement avec une telle retrouver une telle ambition 1961, combien de corps se netteté. Le conflit est en effet et une telle foi collectives sont transcendés aux sons et permanent : entre Sharks et quant au fait de capter et de aux images de West Side Jets bien sûr mais aussi, donner à voir des corps, Story ? justement, entre l’amour et la chantant (et dansant) dans le Jean-François Buiré haine, ou encore entre l’ado- cas du film de Vidor, dansant lescent et l’adulte, le couple et la (et chantant) dans le cas de communauté, le sexe et la West Side Story ; depuis, il romance, le prosaïsme et le n’est pas certain que le cinéma, merveilleux, l’extérieur réel et américain tout du moins, le studio, la scène et l’écran, ait fait preuve d’aspirations Jerome Robbins et Robert comparables. Peut-être fau- < LYCÉENS SOMMAIRE ET APPRENTIS 4 < AU CINÉMA 08/09 Cinéastes, films et chorégraphies Mister Robbins et Docteur Wise « Le présent ouvrage est donc Stanley Donen, auquel on doit constamment menace de la première analyse d’impor- entre autres Chantons sous la faire tomber le film dans le tance à paraître dans le pluie. Mais si Donen prouva figement de la convention et monde, concernant l’auteur ses talents de cinéaste en de la mièvrerie, aux antipodes de West Side Story.
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