{"id":20789,"date":"2017-05-30T06:41:51","date_gmt":"2017-05-30T05:41:51","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=20789"},"modified":"2020-04-17T08:01:09","modified_gmt":"2020-04-17T07:01:09","slug":"lhomme-tua-liberty-valance-de-john-ford","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2017\/05\/30\/lhomme-tua-liberty-valance-de-john-ford\/","title":{"rendered":"L\u2019homme qui tua Liberty Valance de John Ford"},"content":{"rendered":"<p>ARTE diffuse <em>L\u2019homme qui tua Liberty Valance<\/em> (<em>The Man Who Shot Liberty Valance<\/em>, 1962) de John Ford lundi 5 juin \u00e0 20h50. Ce chef-d\u2019\u0153uvre absolu constitue non seulement l\u2019un des nombreux sommets de la carri\u00e8re de Ford, mais aussi ses adieux au western. La contribution de Ford \u00e0 <em>La Conqu\u00eate de l\u2019ouest<\/em> et <em>Les Cheyennes<\/em> r\u00e9alis\u00e9 deux ans plus tard ne poss\u00e8dent pas la m\u00eame valeur testamentaire. <em>L\u2019homme qui tua Liberty Valance <\/em>s\u2019int\u00e9resse aux th\u00e8mes de la violence, de la loi et de la communaut\u00e9, centraux dans la filmographie de Ford. L\u2019histoire propose une m\u00e9taphore de la civilisation des Etats-Unis, avec l\u2019\u00e9radication progressive de la sauvagerie et de l\u2019individualisme au profit du groupe et de ses repr\u00e9sentants, qui devront eux aussi utiliser la force pour imposer un \u00e9tat de droit. John Wayne et James Stewart incarnent deux types de h\u00e9ros fordiens : l\u2019aventurier romantique et solitaire, ma\u00eetre de l\u2019action, maladroit dans les relations sociales, et l\u2019intellectuel qui va mettre ses connaissances et ses talents oratoires au service de la communaut\u00e9. Les questions politiques au c\u0153ur de <em>L\u2019homme qui tua Liberty Valance <\/em>d\u00e9cident de sa forme. C\u2019est un western en huis-clos, dont les sc\u00e8nes charni\u00e8re se d\u00e9roulent dans une cuisine, une salle de restaurant ou une chambre. La parole y joue un r\u00f4le primordial. Le cin\u00e9aste qui sublima les paysages grandioses de Monument Valley pr\u00e9f\u00e8re ici confiner ses personnages dans des d\u00e9cors de studio. L\u2019utilisation du noir et blanc renforce la sobri\u00e9t\u00e9 du film, \u00e0 la facture presque t\u00e9l\u00e9visuelle. Au d\u00e9but des ann\u00e9es 60 Hitchcock proc\u00e9dera de la m\u00eame fa\u00e7on \u00e0 une \u00e9pure de son art avec <em>Psychose<\/em>. <em>L\u2019homme qui tua Liberty Valance<\/em> est aussi le film du vieillissement, dans lequel Ford confie \u00e0 ses acteurs pr\u00e9f\u00e9r\u00e9s des r\u00f4les que ne correspondent plus vraiment \u00e0 leurs \u00e2ges, sans doute pour le plaisir de tourner une derni\u00e8re fois avec eux. Les corps de Wayne et Stewart inscrivent d\u2019une mani\u00e8re \u00e9mouvante le passage du temps dans film. Il y a bien s\u00fbr la construction en flash-back, mais aussi le souvenir des r\u00f4les et des films qu\u2019ils charrient avec eux. Quant \u00e0 la fameuse phrase du journaliste \u00ab\u00a0imprimez la l\u00e9gende\u00a0\u00bb que tout le monde r\u00e9p\u00e8te au sujet de <em>L\u2019homme qui tua Liberty Valance<\/em>, elle refl\u00e8te la complexit\u00e9 et l\u2019ambig\u00fcit\u00e9 du film, et la distance critique du cin\u00e9aste devant toute forme de triomphalisme. C\u2019est le peuple am\u00e9ricain qui a imprim\u00e9 la l\u00e9gende, mais pas Ford dans ses films, qui montre ici que le vrai h\u00e9ros n\u2019est pas celui que l\u2019on croit, en modifiant la signification d\u2019une sc\u00e8ne selon deux perspectives diff\u00e9rentes.<\/p>\n<p>La soir\u00e9e du lundi 5 juin sur ARTE permettra de revoir \u00e0 la suite deux films immenses r\u00e9alis\u00e9s par un ma\u00eetre et de son disciple le plus direct : <em>L\u2019homme qui tua Liberty Valance<\/em> de John Wayne et <em>Shock Corridor<\/em> de Samuel Fuller. Une ann\u00e9e seulement s\u00e9pare les films qui symbolisent pourtant la fin d\u2019un art classique (Ford, plus m\u00e9lancolique que jamais) et les pr\u00e9misses d\u2019un cin\u00e9ma baroque, convulsif (Fuller, cin\u00e9aste de la folie) avec un point commun, essentiel : ausculter l\u2019histoire de l\u2019Am\u00e9rique et son rapport \u00e0 la violence.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>ARTE diffuse L\u2019homme qui tua Liberty Valance (The Man Who Shot Liberty Valance, 1962) de John Ford lundi 5 juin\u2026<\/p>\n","protected":false},"author":116,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[8],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>L\u2019homme qui tua Liberty Valance de John Ford - Olivier P\u00e8re<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arte.tv\/sites\/olivierpere\/2017\/05\/30\/lhomme-tua-liberty-valance-de-john-ford\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u2019homme qui tua Liberty Valance de John Ford - 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