{"id":34216,"date":"2018-02-21T22:37:32","date_gmt":"2018-02-21T22:37:32","guid":{"rendered":"http:\/\/www.lavisqteam.fr\/?p=34216"},"modified":"2018-02-21T22:37:32","modified_gmt":"2018-02-21T22:37:32","slug":"crooked-house","status":"publish","type":"post","link":"https:\/\/www.lavisqteam.fr\/?p=34216","title":{"rendered":"Crooked House"},"content":{"rendered":"

\"\"<\/a><\/p>\n

De\u00a0: <\/strong>Gilles Paquet-Brenner<\/p>\n

Avec <\/strong>Glenn Close, Max Irons, Stefanie Martini, Christina Hendricks<\/p>\n

Ann\u00e9e\u00a0: <\/strong>2017<\/p>\n

Pays\u00a0: <\/strong>Angleterre<\/p>\n

Genre\u00a0: <\/strong>Policier<\/p>\n

R\u00e9sum\u00e9\u00a0:<\/strong><\/p>\n

Adapt\u00e9 du roman d’Agatha Christie. Le d\u00e9tective priv\u00e9 Charles Hayward va tenter de trouver le meurtrier du millionnaire\u00a0Aristide Leonides.<\/p>\n

Avis\u00a0:<\/strong><\/p>\n

Avec des intrigues bien ficel\u00e9es et un sens de la narration sans pareil, Agatha Christie<\/em> n\u2019a pas usurp\u00e9 son statut de \u00ab\u00a0reine du polar\u00a0\u00bb. Elle est \u00e9galement responsable de figures embl\u00e9matiques telles que Miss Marple ou Hercule Poirot. Si ces personnages surviennent de mani\u00e8re pr\u00e9pond\u00e9rante dans ses histoires, ils ne sont pas les seuls enqu\u00eateurs \u00e0 \u00eatre n\u00e9s sous sa plume, comme Charles Hayward. Roman ind\u00e9pendant (qui ne s\u2019inscrit dans aucun cycle), La maison biscornue <\/strong>se veut une \u0153uvre aussi curieuse que subtile dans l\u2019exposition de son myst\u00e8re. Le film de Gilles Paquet-Brenner<\/em> en est la premi\u00e8re adaptation cin\u00e9matographique. Le responsable de Dark Places<\/strong> et Elle s\u2019appelait Sarah<\/strong> est-il parvenu \u00e0 retranscrire l\u2019atmosph\u00e8re du r\u00e9cit original\u00a0?<\/p>\n

\"\"<\/a><\/p>\n

\u00a0Malgr\u00e9 quelques libert\u00e9s indissociables du processus d\u2019adaptation, le sc\u00e9nario correspond en grande majorit\u00e9 avec le livre. Exception faite du cadre temporel qui accuse un d\u00e9calage d\u2019une dizaine d\u2019ann\u00e9es. On d\u00e9laisse le contexte d\u2019apr\u00e8s-guerre de 1947 pour privil\u00e9gier les ann\u00e9es\u00a01950, o\u00f9 quelques propos anticommunistes s\u2019invitent dans l\u2019intrigue. Bien que le passif du personnage principal soit centr\u00e9 sur d\u2019obscures affaires d\u2019espionnage men\u00e9es \u00e0 l\u2019internationale, ce ton d\u00e9note par rapport au style britannique. On a davantage l\u2019impression de se situer en pleine guerre froide sur le territoire am\u00e9ricain plut\u00f4t que dans la campagne anglaise. Un \u00e9l\u00e9ment gu\u00e8re pr\u00e9pond\u00e9rant, mais qui contraste grandement lorsqu\u2019on d\u00e9couvre et explore le manoir des L\u00e9onides.<\/p>\n

Autre cons\u00e9quence de ce changement temporel, on se retrouve avec un traitement proche des romans noirs de l\u2019\u00e9poque avec son lot de clich\u00e9s relatifs aux protagonistes et \u00e0 une introduction pas assez recherch\u00e9e. Au demeurant, Charles Hayward manque cruellement de r\u00e9pondant face \u00e0 ses homologues. Cela est sans doute d\u00fb \u00e0 la prestation timor\u00e9e de Max Irons<\/em> qui peine \u00e0 s\u2019imposer devant des acteurs de la trempe de Terence Stamp<\/em> ou Glenn Close<\/em>. Toutefois, il n\u2019est pas seul responsable, car la caract\u00e9risation de son personnage se r\u00e9v\u00e8le surfaite et passablement creuse, n\u2019en d\u00e9plaise \u00e0 son pass\u00e9 d\u2019espion pour la couronne.<\/p>\n

On remarquera \u00e9galement un manque cruel de rythme. Certes, le r\u00e9cit policier ne n\u00e9cessite nullement de s\u00e9quences d\u2019action, mais son \u00e9volution doit rester fluide. Malgr\u00e9 la qualit\u00e9 de la majorit\u00e9 des dialogues, ceux-ci demeurent sur la r\u00e9serve, un peu comme les acteurs cens\u00e9s leur donner vie. L\u2019absence d\u2019ambiance sonore et la platitude des \u00e9changes, m\u00eame lorsqu\u2019ils doivent \u00eatre houleux, fait s\u2019appesantir une atmosph\u00e8re lourde, presque aust\u00e8re. Un peu comme la d\u00e9mesure du manoir, ses couloirs froids et ses \u00eatres d\u00e9nu\u00e9s de tout sentiment qui le hantent. Au lieu de confronter des personnages passablement d\u00e9testables, le traitement sombre dans la torpeur et la contemplation d\u2019une situation qui progresse difficilement.<\/p>\n

De tels choix de direction desservent la qualit\u00e9 de l\u2019histoire. Car elle se veut suffisamment habile pour brouiller les pistes et entretenir l\u2019int\u00e9r\u00eat chez le spectateur. S\u2019il n\u2019est en rien novateur, le fait d\u2019offrir un mobile \u00e0 tous les intervenants apporte une orientation judicieuse pour explorer d\u2019autres possibilit\u00e9s. Entre suspicion, ranc\u0153urs et accusations, le tour de table des diff\u00e9rents protagonistes donne un \u00e9clairage nouveau sur le clan L\u00e9onides. \u00c0 noter qu\u2019il ne s\u2019agit en rien d\u2019un huis clos \u00e9tant donn\u00e9 que Charles Hayward et les membres de la famille ne sont nullement confin\u00e9s dans le manoir, m\u00eame si les apparences laissent entendre le contraire.<\/p>\n

\"\"<\/a><\/p>\n

Au final, Crooked House<\/strong> est une adaptation en demi-teinte. Malgr\u00e9 la subtilit\u00e9 de l\u2019intrigue et son implacable v\u00e9rit\u00e9, celles-ci sont entach\u00e9es par des d\u00e9fauts purement formels. Un cadre presque anachronique au regard de l\u2019ambiance du livre, un personnage central trop effac\u00e9 et une gestion maladroite du rythme plombent les bons a priori que l\u2019on porte au film. Cela sans compter une atmosph\u00e8re pesante (dans le mauvais sens du terme) dont le ton monotone alt\u00e8re consid\u00e9rablement la pertinence des dialogues. En lieu et place d\u2019un r\u00e9cit policier d\u00e9lectable, on d\u00e9couvre une production britannique dont l\u2019identit\u00e9 m\u00eame s\u2019\u00e9tiole au fil d\u2019une progression cahotante. Une repr\u00e9sentation assez convenue et inaboutie du roman d\u2019Agatha Christie<\/em>.<\/p>\n

Note\u00a0: 12\/20<\/strong><\/p>\n

[youtube]https:\/\/www.youtube.com\/watch?v=JwTYh5BHH5A[\/youtube]<\/p>\n

Par Dante<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

De\u00a0: Gilles Paquet-Brenner Avec Glenn Close, Max Irons, Stefanie Martini, Christina Hendricks Ann\u00e9e\u00a0: 2017 Pays\u00a0: Angleterre Genre\u00a0: Policier R\u00e9sum\u00e9\u00a0: Adapt\u00e9 du roman d’Agatha Christie. 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