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« Il Cinema Ritrovato », Xxive Édition Bologne, 26 Juin-3 Juillet 2010

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« Il Cinema Ritrovato », Xxive Édition Bologne, 26 Juin-3 Juillet 2010 1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 62 | 2010 Varia « Il Cinema Ritrovato », XXIVe édition Bologne, 26 juin-3 juillet 2010 Jean-Pierre Bleys, Jean Antoine Gili, Pierre-Emmanuel Jaques et Reto Kromer Édition électronique URL : http://journals.openedition.org/1895/3789 DOI : 10.4000/1895.3789 ISBN : 978-2-8218-0978-9 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 décembre 2010 Pagination : 132-145 ISBN : 978-2-913758-64-3 ISSN : 0769-0959 Référence électronique Jean-Pierre Bleys, Jean Antoine Gili, Pierre-Emmanuel Jaques et Reto Kromer, « « Il Cinema Ritrovato », XXIVe édition Bologne, 26 juin-3 juillet 2010 », 1895. Mille huit cent quatre-vingt-quinze [En ligne], 62 | 2010, mis en ligne le 01 janvier 2014, consulté le 15 septembre 2020. URL : http:// journals.openedition.org/1895/3789 © AFRHC 3. 1895-No 62:Mise en page 1 8/12/10 9:59 Page 132 1895 / n° 62 décembre 2010 132 Félix Édouard Vallotton, La Symphonie, 1897. (Xylographie sur japon ambré, Cabinet des estampes, don Lucien Archinard © MAH, Cabinet d’arts graphiques, Genève). 3. 1895-No 62:Mise en page 1 8/12/10 9:59 Page 133 Chroniques huit programmes, des raretés des premières années, un film de la production américaine de l’auteur, The Red Lantern (1917), un serial célèbre, les Misérables, le panorama était large. Nous y reviendrons l’année prochaine puisque la rétrospective se pour- « Il Cinema Ritrovato », suivra et qu’un numéro monographique de XXIVe édition 1895 l’accompagnera. Bologne, 26 juin-3 juillet 2010 La trilogia di Maciste En 2009, une vaste section présentait 1895 / « Tutto Maciste, uomo forte », elle se com- n° 62 décembre Après vingt-trois ans d’existence, « Il Cine- posait de huit films interprétés par Bar- 2010 ma Ritrovato » est toujours un rendez-vous tolomeo Pagano. Parmi ceux-ci, La trilogia essentiel pour les historiens, les spécialistes di Maciste (1920) de Carlo Campogalliani ne en tout genre, les cinéphiles « tout court ». proposait que 22 minutes du début d’une 133 Riche, presque trop, de sections multiples, restauration effectuée à partir d’un positif de projections, de rencontres, de présenta- nitrate avec virages de couleurs conservé à tion de livres et de DVD, la manifestation Bois d’Arcy. La version française avait trans- ne peut donner lieu à un compte-rendu formé les trois épisodes du serial en un seul exhaustif. Les textes réunis ici évoquent film de plus deux heures. Cette année, on a quelques moments forts en fonction des pu voir le résultat, même si la restauration goûts et des centres d’intérêt des rédac- – promue par le Musée du Cinéma de Turin teurs. En ce qui me concerne, je me bornerai et la Cinémathèque de Bologne, et effec- à évoquer le domaine italien – toujours bien tuée dans les laboratoires de L’Immagine représenté à Bologne –, laissant le soin à Ritrovata – doit encore se poursuivre. Ainsi, Pierre-Emmanuel Jaques d’aborder les pro- l’ensemble se décompose en Maciste contro jections consacrées aux années 1910, à Jean- la morte (30 minutes), Il viaggio di Maciste Pierre Bleys de commenter la rétrospective (55 minutes), Il testamento di Maciste (48 John Ford, enfin à Reto Kromer de présen- minutes). Le récit, plein de rebondissements ter quelques observations générales sur les et d’imprévus, met en scène Maciste, lancé conditions de projection. Quant à la rétro- au secours d’une princesse (Letizia Quar- spective Albert Capellani, elle aurait mérité anta) dont le trône est menacé par un pre- à elle seule un compte-rendu spécifique. mier ministre félon, et Tito Fabrizi, un Près d’une trentaine de titres regroupés en journaliste qui suit le héros comme son chroniques actualités 3. 1895-No 62:Mise en page 1 8/12/10 9:59 Page 134 ombre. Dans le rôle, Carlo Campogalliani La vita ricomincia (1945) de Mario Mattoli offre par son physique de gringalet un utile explore les ravages matériels (on y voit l’ab- contrepoint à l’imposant Pagano. Après de baye du Monte Cassino totalement rasée) et multiples avatars qui voient notamment humains (une femme sacrifie son honneur Maciste condamné à alimenter les chau- pour sauver son enfant) provoqués par la dières d’un paquebot (l’image est utilisée guerre. Mattoli, spécialiste des mélodrames par une des affiches les plus célèbres de sentimentaux au début des années qua- l’acteur) et qui manque même d’être fusillé, rante, recycle son propos en l’adaptant à la le roi est rétabli sur son trône tandis que nouvelle réalité et donne aux vedettes la princesse épouse le journaliste… Le film d’avant 1945 (Alida Valli, Fosco Giachetti) 1895 / se déroule souvent en extérieurs : on peut l’occasion de retrouver leur public dans des n° 62 notamment y contempler le port de Gênes personnages douloureux. décembre où l’ancien débardeur devenu une star du Un uomo ritorna (1946) de Max Neufeld 2010 cinéma italien retrouve avec une évidente – qui aborde le film social après ses comé- jouissance un cadre qui lui fut familier. dies sophistiquées des années trente – décrit 134 Outre la France, le film circula dans divers une ville sinistrée dont, symboliquement, la pays, notamment en Angleterre sous le titre centrale électrique est détruite et dont la Maciste Superman. reconstruction passe par le sacrifice d’un employé qui se jette dans un champ de Anni difficili in Italia mines. Femme du peuple, Anna Magnani a Le cinéma italien, au-delà ou en-deçà du basculé ici – effet des souffrances de la néoréalisme, a produit de nombreux films guerre – dans la prostitution. au lendemain de la Seconde Guerre mon- Roma città libera/La notte porta consiglio diale qui prolongent la représentation d’un (1946) de Marcello Pagliero est sans doute pays bouleversé ou qui en saisissent des le film le plus singulier de la sélection. aspects négligés par les films canoniques. D’après un sujet d’Ennio Flaiano et un scé- Cette section, présentée par Goffredo Fofi, nario auquel ont collaboré, outre le met- couvrait les années 1945-1949 ; elle com- teur en scène, Flaiano, Cesare Zavattini, portait des œuvres souvent très appréciées Vittorio De Sica, Pina Mercanti et l’alors par le public de l’époque mais aujourd’hui débutante Suso Cecchi D’Amico, le film est rarement montrées. Ces films ont souvent une comédie sur les désenchantements qui en commun d’insister sur les destructions affectent Rome au lendemain de la guerre. matérielles et les délabrements moraux Mêlant l’ironie et l’amertume, Pagliero met avec la misère qui engendre le marché noir en scène deux jeunes gens qui, face à la et la prostitution. misère, ne trouvent refuge que dans le sui- 3. 1895-No 62:Mise en page 1 8/12/10 9:59 Page 135 cide ou la prostitution. Au terme de multi- façon documentaire les tragédies de l’Italie ples avatars, ils tomberont amoureux l’un de 1940 à la Libération. Appel à la paix, le de l’autre et découvriront d’autres solutions film soufre d’un ton rhétorique et redon- à leur désespoir. La notte porta consiglio est dant qui le rend aujourd’hui difficilement tourné dès la libération de la ville mais il supportable, mais n’en témoigne pas moins est distribué seulement en 1948. Le film un certain état d’esprit au lendemain de la confirme le ton très original de Pagliero guerre. dans le contexte du cinéma italien de l’im- Tombolo, paradiso nero (1947) de Giorgio médiat après guerre. Le récit, contenu dans Ferroni, avant Senza pietà (1948) de Lat- la durée d’une nuit, met en scène des per- tuada, décrit, dans les pinèdes près de sonnages étranges, un voleur (Nando Bruno Livourne, les entreprises criminelles de 1895 / dont c’est le seul rôle de toute sa carrière voyous qui s’adonnent au marché noir, au n° 62 décembre comme protagoniste), des amoureux déses- trafic de drogue et à la traite des blanches. 2010 pérés (Andrea Checchi et Valentina Cor- Preuve d’intérêt en France, le film est pré- tese), un inconnu en smoking (étonnant senté en 1950 au Rendez-vous de Biarritz Vittorio de Sica pour un personnage qui a succédé au Festival du film maudit. 135 lunaire) qui doit prononcer un discours Come persi la guerra (1947) de Carlo Bor- politique et qui célèbre les fleurs – au finale, ghesio inaugure une trilogie qui se pro- le visage illuminé, il déclare « ils m’ont longera par L’eroe della strada (1948) et fait ministre » avant d’être amené par qua- Comescopersi l’America (1949). Interprété tre individus en noir (peut-être des méde- par le comique Macario, le film joue sur les cins) –, un gangster tenant une salle de tribulations d’un pauvre diable qui, au gré jeu clandestine (Francesco Grand-Jaquet des circonstances, porte tous les uniformes à peine sorti de Roma città aperta), un possibles au cours de « sept ans de mal- étrange officier de police interprété par heur » (c’est le titre français du film) avant Ennio Flaiano. Tous n’ont pas de nom, ils de revêtir, revenu à la vie civile, un uniforme sont assimilés à une fonction ou à un âge : de pompier ! le jeune homme, le voleur, la dactylo, le Sotto il sole di Roma (1947) de Renato monsieur distingué, l’Américain… Notons Castellani, dont le scénario est notamment que le film est choisi par Cocteau et Bazin signé Suso Cecchi D’Amico et Sergio Amidei, pour inaugurer le Festival du film maudit de est une curieuse anticipation des films Biarritz en 1949.
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