{"id":34553,"date":"2018-03-09T08:41:45","date_gmt":"2018-03-09T08:41:45","guid":{"rendered":"http:\/\/www.lavisqteam.fr\/?p=34553"},"modified":"2018-03-09T08:41:45","modified_gmt":"2018-03-09T08:41:45","slug":"linconnu","status":"publish","type":"post","link":"https:\/\/www.lavisqteam.fr\/?p=34553","title":{"rendered":"L’Inconnu"},"content":{"rendered":"

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

Titre Original\u00a0: <\/strong>The Unknown<\/p>\n

De\u00a0: <\/strong>Tod Browning<\/p>\n

Avec <\/strong>Lon Chaney, Joan Crawford, Nick De Ruiz, Norman Kerry<\/p>\n

Ann\u00e9e\u00a0: <\/strong>1927<\/p>\n

Pays\u00a0: <\/strong>Etats-Unis<\/p>\n

Genre\u00a0: <\/strong>Drame, Romance<\/p>\n

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

Alonzo, \u00ab\u00a0l’homme sans bras\u00a0\u00bb, vedette d’un cirque install\u00e9 \u00e0 Madrid, tire \u00e0 la carabine et lance des poignards avec ses pieds sur sa partenaire, dont il est secr\u00e8tement et follement amoureux, la jolie Estrellita. C’est la fille de Zanzi, le directeur.
\nMalabar, l’hercule du cirque, est \u00e9galement sensible aux charmes de la jeune fille, laquelle ne lui pr\u00eate pourtant aucune attention, car Estrellita est terrifi\u00e9e par les mains des hommes. Aussi se sent-elle en s\u00e9curit\u00e9 aupr\u00e8s d’Alonzo.<\/p>\n

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

Lorsqu\u2019on \u00e9voque Tod Browning<\/em>, on pense imm\u00e9diatement \u00e0 Freaks \u2013 La monstrueuse parade<\/strong> ou Dracula <\/strong>avec Bela Lugosi<\/em>. Pourtant, ces m\u00e9trages annoncent sa fin de carri\u00e8re, laissant derri\u00e8re lui un formidable h\u00e9ritage au septi\u00e8me art, notamment dans le domaine du muet. \u00c0 la r\u00e9alisation de L\u2019inconnu<\/strong>, Tod Browning<\/em> signe deux autres films en 1927\u00a0: La morsure<\/strong> et le mythique Londres apr\u00e8s minuit<\/strong>. Par l\u00e0 m\u00eame, on remarque l\u2019\u00e9clectisme du cin\u00e9aste et son go\u00fbt \u00e9vident pour l\u2019anticonformisme. Parfois reconnu comme de qualit\u00e9 sup\u00e9rieure \u00e0 Freaks<\/strong>, L\u2019inconnu<\/strong> met \u00e9galement en avant une certaine fascination pour le monde du cirque. On le serait \u00e0 moins en ayant pass\u00e9 sa jeunesse dans l\u2019un d\u2019eux\u00a0!<\/p>\n

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

D\u2019ailleurs, l\u2019on peut voir certains \u00e9l\u00e9ments et codes d\u00e9j\u00e0 pr\u00e9sents. Il n\u2019est pas question d\u2019aborder l\u2019intrigue sous un angle horrifique. Cependant, on remarque une propension \u00e0 exposer le sc\u00e9nario de mani\u00e8re d\u00e9cal\u00e9e au regard de ce qui se faisait \u00e0 l\u2019\u00e9poque, mais aussi de nos jours. Ce n\u2019est pas tant la mise en valeur de la diff\u00e9rence et la confrontation avec le \u00ab\u00a0monde ext\u00e9rieur\u00a0\u00bb qui sont ici d\u00e9peintes. On parlera plut\u00f4t de rejet de toute normalit\u00e9, \u00e0 tout le moins celle con\u00e7ue et adopt\u00e9e par les dictats de la soci\u00e9t\u00e9. Pour cela, Tod Browning<\/em> n\u2019h\u00e9site aucunement \u00e0 triturer la trame narrative et les personnalit\u00e9s tourment\u00e9es de ses protagonistes.<\/p>\n

Si l\u2019histoire part d\u2019un postulat relativement simple, un amour impossible qui vire \u00e0 l\u2019obsession, Tod Browning<\/em> y insuffle un parfum de trag\u00e9die, non d\u00e9nu\u00e9 de suspense. Avec un traitement \u00e0 contre-courant des attentes du spectateur, on d\u00e9couvre un r\u00e9cit \u00e9maill\u00e9 de non-dits, soutenu par un passif beaucoup plus dense et lourd qu\u2019escompt\u00e9. Alonzo, l\u2019antih\u00e9ros par excellence interpr\u00e9t\u00e9 par Lon Chaney<\/em>, incarne parfaitement cette contradiction permanente. Tour \u00e0 tour veule, doux, manipulateur et attentionn\u00e9. La complexit\u00e9 de sa personnalit\u00e9 le rend d\u2019autant plus d\u00e9stabilisant que l\u2019\u00e9volution de son comportement s\u2019exacerbe jusqu\u2019au d\u00e9nouement.<\/p>\n

Outre un travail d\u2019\u00e9criture remarquable sur la caract\u00e9risation et la progression de l\u2019histoire, L\u2019inconnu est \u00e9galement une formidable le\u00e7on de mise en sc\u00e8ne et de direction des acteurs. L\u2019\u00e9poque du muet montre toute la richesse d\u2019interpr\u00e9tation du casting. Le fait de communiquer toutes les \u00e9motions et le ressenti par la simple exposition des images demeure bluffant. Au regard du talent des acteurs, il n\u2019y aurait presque nul besoin d\u2019intercaler des panneaux de dialogues. Tout passe dans un regard, une gestuelle extraordinaire\u00a0; a fortiori quand le personnage principal est d\u00e9pourvu de bras. L\u2019on pourrait penser que cela ne se distingue en rien d\u2019autres classiques du muet, comme les m\u00e9trages de Murnau<\/em>.<\/p>\n

Dans un certain sens, c\u2019est le cas et sans doute la marque des grandes \u0153uvres. Pourtant, cette force exceptionnelle est d\u00e9tourn\u00e9e pour manipuler le spectateur. Il faut comprendre ici que les expressions et les comportements ont un double sens. Sans tromper l\u2019interpr\u00e9tation que l\u2019on peut s\u2019en faire, le r\u00e9alisateur triture quelque peu notre perception de l\u2019histoire pour mieux la tourner \u00e0 son avantage. D\u00e8s lors, on s\u2019\u00e9tonne de certains retournements et r\u00e9parties, pas forc\u00e9ment attendus avec une telle orientation. \u00c0 ce titre, la conclusion fait montre d\u2019un ton ironique rarement atteint \u00e0 ce niveau. L\u2019on en revient \u00e0 une trag\u00e9die \u00e9poustouflante o\u00f9 l\u2019ultime sc\u00e8ne s\u2019amuse une derni\u00e8re fois avec nos nerfs.<\/p>\n

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

Dans un genre diff\u00e9rent, L\u2019inconnu<\/strong> est au cin\u00e9ma expressionniste ce que Freaks <\/strong>repr\u00e9sente pour les pr\u00e9mices du parlant. Un chef d\u2019\u0153uvre indiscutable qui se r\u00e9v\u00e8le d\u2019une grande inventivit\u00e9 sur tous les tableaux. Malgr\u00e9 une faible dur\u00e9e (49\u00a0minutes), le film de Tod Browning<\/em> se compose d\u2019un suspense ma\u00eetris\u00e9 soutenu par une histoire aussi sombre qu\u2019\u00e9l\u00e9gante. Au refus de la normalit\u00e9, le r\u00e9alisateur exploite \u00e0 merveille les tenants d\u2019un amour obsessionnel qui vire \u00e0 la trag\u00e9die. Le tout servi par une interpr\u00e9tation sans fausse note, Lon Chaney<\/em> exprimant avec brio la figure contradictoire de l\u2019antih\u00e9ros, parfois d\u00e9testable, path\u00e9tique et s\u00e9duisant. Une le\u00e7on de cin\u00e9ma remarquable.<\/p>\n

Note\u00a0: 19\/20<\/strong><\/p>\n

[youtube]https:\/\/www.youtube.com\/watch?v=0ZPxz_gwOvk[\/youtube]<\/p>\n

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

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