{"id":38812,"date":"2018-10-31T22:20:13","date_gmt":"2018-10-31T22:20:13","guid":{"rendered":"http:\/\/www.lavisqteam.fr\/?p=38812"},"modified":"2018-10-31T22:20:13","modified_gmt":"2018-10-31T22:20:13","slug":"the-rebel","status":"publish","type":"post","link":"https:\/\/www.lavisqteam.fr\/?p=38812","title":{"rendered":"The Rebel"},"content":{"rendered":"

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

Titre Original\u00a0: <\/strong>Dong Mau Anh Hung<\/p>\n

De\u00a0: <\/strong>Charlie Nguyen<\/p>\n

Avec <\/strong>Johnny Nguyen, Dustin Nguyen, Stephane Gauger, David Minetti<\/p>\n

Ann\u00e9e\u00a0: <\/strong>2007<\/p>\n

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

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

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

Dans les ann\u00e9es 1920, le Vietnam est une colonie fran\u00e7aise et des rebellions contre cette domination \u00e9clatent dans le pays. Pour lutter contre ces troubles, la puissance coloniale met en place des groupes d’autochtones. Lo Ven Cuong est charg\u00e9 d’assassiner un leader de la r\u00e9sistance. Mais lorsqu’il rencontre la fille de celui-ci, une combattante farouche, experte en arts martiaux, ses sentiments comme ses id\u00e9es vont changer…<\/p>\n

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

Au vu de leur histoire et de leur origine, les arts martiaux sont indissociables du cin\u00e9ma d\u2019action asiatique. L\u2019un ne va pas sans l\u2019autre et s\u2019en affranchir rel\u00e8ve de la gageure. Au d\u00e9but des ann\u00e9es\u00a02000, Ong-Bak<\/strong> marquait le regain d\u2019int\u00e9r\u00eat occidental pour le genre, tandis que les figures hollywoodiennes sombraient progressivement dans les affres du DTV. Le traitement se r\u00e9v\u00e9lait efficace et la qualit\u00e9 des prestations physiques (sans trucage) permettait d\u2019oublier un \u00ab\u00a0sc\u00e9nario pr\u00e9texte\u00a0\u00bb. Si les films tha\u00eflandais touchent un public relativement restreint en France, les productions vietnamiennes sont encore plus rares\u00a0; hormis peut-\u00eatre le contemplatif L\u2019odeur de la papaye verte<\/strong> ou A la verticale de l\u2019\u00e9t\u00e9<\/strong>.<\/p>\n

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

Certes, nombre de m\u00e9trages \u00e9voquent la guerre du Vietnam, mais toujours sous un angle ext\u00e9rieur. A fortiori, cette page de l\u2019histoire occulte \u00e9galement l\u2019\u00e9poque de la colonisation fran\u00e7aise dans le Sud-est asiatique de la fin du XIXe si\u00e8cle jusqu\u2019\u00e0 la moiti\u00e9 du XXe si\u00e8cle. L\u00e0 encore, L\u2019amant<\/strong> ou Indochine<\/strong> sont des films narr\u00e9s sous le prisme de l\u2019occupation fran\u00e7aise. On le devine \u00e0 son approche et \u00e0 quelques explications en guise de mise en bouche, The Rebel<\/strong> tient \u00e0 d\u00e9velopper le contexte avant d\u2019\u00eatre un film d\u2019action pur et dur. Une p\u00e9riode trouble et peu reluisante de l\u2019histoire colonialiste fran\u00e7aise dont on ne fait gu\u00e8re \u00e9talage.<\/p>\n

Il est ais\u00e9 de distinguer des propos nationalistes qui pr\u00f4nent l\u2019ind\u00e9pendance et l\u2019identit\u00e9 culturelle face \u00e0 l\u2019oppresseur occidental. En ce sens, le discours est orient\u00e9 vers un traitement tr\u00e8s manich\u00e9en, et ce, malgr\u00e9 quelques allusions qui tentent d\u2019\u00e9carter toute g\u00e9n\u00e9ralit\u00e9. Cependant, le ton patriotique n\u2019est en rien un \u00e9cueil. D\u2019une part, cela sert l\u2019histoire sans pour autant la supplanter. D\u2019autre part, la critique de ces consid\u00e9rations est aussi d\u00e9plac\u00e9e que l\u2019ergotage sur les actes de la r\u00e9sistance fran\u00e7aise sous l\u2019occupation allemande. Le cadre, l\u2019\u00e9poque et les partis sont diff\u00e9rents, mais les circonstances demeurent similaires \u00e0 plus d\u2019un titre.<\/p>\n

Le fait de d\u00e9peindre l\u2019arm\u00e9e fran\u00e7aise sous un jour peu glorieux reste int\u00e9ressant, mais l\u2019initiative s\u2019av\u00e8re assez peu convaincante, car trop caricaturale. Ce point aurait gagn\u00e9 \u00e0 ne pas se contenter de lignes de dialogue simplistes et redondantes o\u00f9 l\u2019on se cantonne \u00e0 quelques allusions racistes telles que \u00ab\u00a0le fl\u00e9au de l\u2019homme blanc\u00a0\u00bb. Pour le reste, les antagonistes se limitent \u00e0 dire \u00ab\u00a0(sale) b\u00e2tard\u00a0\u00bb, \u00ab\u00a0bande de chiens\u00a0\u00bb ou \u00ab\u00a0Retournez-vous\u00a0!\u00a0\u00bb. Dans un exercice de style diff\u00e9rent, il aurait \u00e9t\u00e9 plus judicieux de nuancer le propos afin d\u2019\u00e9viter un clivage trop flagrant. On songe notamment \u00e0 L\u2019ennemi intime, \u00e9galement sorti en 2007, qui parvenait \u00e0 cr\u00e9dibiliser le portrait des soldats sans pour autant minimiser leurs actes ou justifier leurs crimes lors de la guerre d\u2019Alg\u00e9rie.<\/p>\n

Quant aux combats, principale attraction de ce type de m\u00e9trage, on reconna\u00eet le savoir-faire asiatique en la mati\u00e8re. Les jeux de cam\u00e9ra sont dynamiques et ma\u00eetris\u00e9s. Les encha\u00eenements se r\u00e9v\u00e8lent particuli\u00e8rement fluides, m\u00eame apr\u00e8s un contre ou un blocage de l\u2019adversaire. Le fait que les performances physiques des acteurs ne soient ni diminu\u00e9es ni exag\u00e9r\u00e9es concourt \u00e0 rendre les affrontements plus brutaux et spectaculaires sur un intervalle de temps assez court. \u00c9tant donn\u00e9 l\u2019origine du film, l\u2019art martial qui se distingue est le Vovinam Viet Vo D\u1ea1o. L\u2019ex\u00e9cution des ciseaux volants ou l\u2019alternance entre le combat rapproch\u00e9 \u00e0 mains nues, puis \u00e0 l\u2019aide d\u2019armes blanches, restent assez caract\u00e9ristiques. On fera n\u00e9anmoins l\u2019impasse sur sa pr\u00e9sence anachronique puisqu\u2019il a \u00e9t\u00e9 cr\u00e9\u00e9 \u00e0 la fin des ann\u00e9es\u00a01930 et non au cours des ann\u00e9es\u00a01920, cadre temporel de l\u2019intrigue.<\/p>\n

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

Au final, The Rebel<\/strong> est un film d\u2019action plut\u00f4t surprenant dans le sens o\u00f9 son r\u00e9alisateur aime \u00e0 m\u00e9langer les genres et les styles. Tour \u00e0 tour fresque historique, drame romantique et m\u00eame western (l\u2019assaut final du train), le film de Charlie Nguyen<\/em> ne se limite pas \u00e0 un domaine restreint pour d\u00e9velopper son r\u00e9cit. En cela, certaines s\u00e9quences volontairement lentes sont susceptibles de d\u00e9contenancer les puristes. Pour autant, The Rebel<\/strong> d\u00e9veloppe son contexte avec une rigueur \u00e9vidente\u00a0; qualit\u00e9 que l\u2019on aimerait retrouver dans d\u2019autres productions du m\u00eame acabit. Malgr\u00e9 quelques maladresses par rapport \u00e0 l\u2019image caricaturale des antagonistes et des fusillades moins percutantes que les combats, on tient l\u00e0 un m\u00e9trage qui respecte ses promesses et b\u00e9n\u00e9ficie d\u2019un travail chor\u00e9graphique d\u2019excellente facture.<\/p>\n

Note\u00a0: 14\/20<\/strong><\/p>\n

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

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

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