{"id":35896,"date":"2018-05-17T16:32:39","date_gmt":"2018-05-17T16:32:39","guid":{"rendered":"http:\/\/www.lavisqteam.fr\/?p=35896"},"modified":"2018-05-17T16:32:39","modified_gmt":"2018-05-17T16:32:39","slug":"linhumaine","status":"publish","type":"post","link":"https:\/\/www.lavisqteam.fr\/?p=35896","title":{"rendered":"L’Inhumaine"},"content":{"rendered":"

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

De\u00a0: <\/strong>Marcel L\u2019Herbier<\/p>\n

Avec <\/strong>Jaque Catelain, Georgette Leblanc<\/p>\n

Ann\u00e9e\u00a0: <\/strong>1924<\/p>\n

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

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

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

Une grande cantatrice d’avant-garde tr\u00e8s entour\u00e9e est r\u00e9put\u00e9e pour son insensibilit\u00e9 vis-\u00e0-vis des hommes qui la comblent pourtant d’attentions. Un jeune ing\u00e9nieur veut lui faire prendre conscience de son inhumanit\u00e9. Cette splendeur du cin\u00e9ma muet sort de l’ombre totalement restaur\u00e9e et sonoris\u00e9e, les partitions musicales de Darius Milhaud ayant \u00e9t\u00e9 \u00e9gar\u00e9es lors d’un naufrage pendant la derni\u00e8re guerre mondiale.<\/p>\n

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

Au d\u00e9but du XXe si\u00e8cle, le cin\u00e9ma muet a \u00e9t\u00e9 l\u2019occasion de multiples exp\u00e9rimentations pour s\u2019approprier une forme d\u2019art encore embryonnaire. Mise en sc\u00e8ne, photographie, interpr\u00e9tation, sc\u00e9nario\u2026 Tout \u00e9tait l\u2019objet d\u2019une recherche m\u00e9ticuleuse et d\u2019un travail passionn\u00e9 (et passionnant). La filmographie de Marcel L\u2019Herbier<\/em> est particuli\u00e8re dans le sens o\u00f9 chacun de ses films poss\u00e8de une identit\u00e9 propre, ne ressemblant jamais au pr\u00e9c\u00e9dent, a fortiori pour sa p\u00e9riode expressionniste. Loin d\u2019\u00eatre son coup d\u2019essai, L\u2019inhumaine est sans doute son m\u00e9trage le plus embl\u00e9matique, car il d\u00e9borde d\u2019ambitions et pas seulement en terme de production ou de r\u00e9alisation.<\/p>\n

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

Marcel L\u2019Herbier<\/em> ne se cantonne pas \u00e0 un m\u00e9dia pour raconter une histoire. Il se sert plut\u00f4t de l\u2019intrigue comme cadre (ou pr\u00e9texte) afin d\u2019y int\u00e9grer des arts aussi disparates que le stylisme, la d\u00e9coration, la sculpture ou encore l\u2019architecture pour ne citer que les plus apparents. De plus, L\u2019inhumaine<\/strong> est la parfaite repr\u00e9sentation de l\u2019art d\u00e9co qui, \u00e0 l\u2019\u00e9poque, conna\u00eet son \u00e2ge d\u2019or. Ce mouvement fait de formes g\u00e9om\u00e9triques et d\u2019\u00e9pure s\u2019exprime autant dans les am\u00e9nagements int\u00e9rieurs que dans l\u2019esth\u00e9tique si particuli\u00e8re de la villa de la cantatrice. Un travail exigeant qui se solde par un cachet unique qui inspirera parfois d\u2019autres m\u00e9trages, comme La source de feu, \u00e0 une \u00e9chelle moins dominante, cela dit.<\/p>\n

Cet amalgame des arts est \u00e9galement l\u2019occasion de s\u2019essayer au m\u00e9lange des genres. L\u2019aspect dramatique de l\u2019intrigue est pr\u00e9pond\u00e9rant, mais de nombreuses allusions au fantastique, \u00e0 la science-fiction, ainsi qu\u2019au polar, se retrouvent \u00e0 intervalles r\u00e9guliers. Ainsi, Marcel L\u2019Herbier<\/em> d\u00e9peint une trag\u00e9die moderne qui, dans l\u2019entre-deux-guerres, s\u2019interroge autant sur une romance obsessionnelle que sur les technologies \u00e9mergentes. Le statut d\u2019ing\u00e9nieur et de scientifique d\u2019Einar (Jaque Catelain<\/em>) permet de mettre en avant l\u2019id\u00e9e de la t\u00e9l\u00e9vision. Plus qu\u2019une approche avant-gardiste, cette anticipation peut \u00eatre qualifi\u00e9e de visionnaire tant elle se r\u00e9v\u00e9lera proph\u00e9tique des d\u00e9cennies plus tard.<\/p>\n

On notera \u00e9galement une symbolique particuli\u00e8rement forte entre l\u2019aspect \u00e9ph\u00e9m\u00e8re de l\u2019existence humaine et la qu\u00eate constante d\u2019une forme d\u2019immortalit\u00e9. Celle-ci se traduit surtout par l\u2019h\u00e9ritage laiss\u00e9 \u00e0 la post\u00e9rit\u00e9. Des inventions et des avanc\u00e9es consid\u00e9rables dans les progr\u00e8s scientifiques pour Einar et la musique pour Claire (Georgette Leblanc<\/em>). Une transposition culturelle et intellectuelle \u00e0 m\u00eame de repr\u00e9senter le besoin de reconnaissance. L\u00e0 encore, tout s\u2019effectue de mani\u00e8re implicite pour proposer un fond dont la pertinence conserve toute sa modernit\u00e9. Discours dont le point d\u2019orgue aboutit non pas \u00e0 une renaissance dans la derni\u00e8re sc\u00e8ne, mais \u00e0 l\u2019\u00e9mergence d\u2019un art nouveau.<\/p>\n

Pour ce qui est de l\u2019histoire en elle-m\u00eame, elle joue d\u00e9j\u00e0 avec des codes narratifs novateurs. Il ne s\u2019agit pas uniquement d\u2019alterner les points de vue pour offrir une vue d\u2019ensemble, mais d\u2019orienter la progression vers une id\u00e9e pr\u00e9cise. Celle-ci se montre alors biais\u00e9e par l\u2019occultation d\u2019informations primordiales. L\u2019usage du flash-back est \u00e9galement pr\u00e9sent pour cr\u00e9dibiliser la r\u00e9elle teneur des \u00e9v\u00e9nements. Une formidable le\u00e7on de manipulation soutenue par l\u2019emploi de teintes color\u00e9es pour accentuer la gravit\u00e9 d\u2019une s\u00e9quence ou l\u2019\u00e9tat \u00e9motionnel des protagonistes.<\/p>\n

En l\u2019absence de la copie originale, une reconstitution remarquable faite \u00e0 partir de notes retrouv\u00e9es aux archives fran\u00e7aises du film du centre national du cin\u00e9ma et de l\u2019image anim\u00e9e. Ce travail d\u2019exception est appuy\u00e9 par deux compositions\u00a0; celle de Darius Milhaud<\/em> \u00e9tant consid\u00e9r\u00e9e comme perdue. Celle d\u2019Aidje Tafial <\/em>entretient un c\u00f4t\u00e9 jazzy et surann\u00e9 de la bobine, propre aux ann\u00e9es folles. Et celle de l\u2019orchestre d\u2019Alloy, o\u00f9 les accents m\u00e9lancoliques et les tonalit\u00e9s discordantes conf\u00e8rent aux images une ambiance plus sombre.<\/p>\n

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

Au final, L\u2019inhumaine<\/strong> est une pi\u00e8ce ma\u00eetresse dans l\u2019histoire du cin\u00e9ma. Ce m\u00e9trage s\u2019avance comme un pr\u00e9curseur dont les audaces artistiques ouvrent un potentiel exceptionnel pour l\u2019avenir du cin\u00e9ma. Loin de s\u2019arr\u00eater \u00e0 la seule narration de son r\u00e9cit, Marcel L\u2019Herbier<\/em> laisse s\u2019exprimer son imagination sans craindre les contraintes li\u00e9es aux genres qu\u2019il exploite. Cela explique sans doute l\u2019accroche de l\u2019affiche\u00a0: \u00ab\u00a0une histoire f\u00e9\u00e9rique\u2026\u00a0\u00bb. Ce n\u2019est pas dans la fantasy du terme que cela s\u2019av\u00e8re fond\u00e9, mais dans la volont\u00e9 d\u2019insuffler une part de magie au gr\u00e9 des images. Un peu comme Georges M\u00e9li\u00e8s<\/em> le faisait en son temps.<\/p>\n

 <\/p>\n

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

[youtube]https:\/\/www.youtube.com\/watch?v=xZkU32E630g[\/youtube]<\/p>\n

Par Dante<\/strong><\/p>\n

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

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