{"id":22520,"date":"2018-08-01T08:12:29","date_gmt":"2018-08-01T07:12:29","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=22520"},"modified":"2018-08-22T08:14:27","modified_gmt":"2018-08-22T07:14:27","slug":"mash-de-robert-altman","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2018\/08\/01\/mash-de-robert-altman\/","title":{"rendered":"M*A*S*H de Robert Altman"},"content":{"rendered":"<p><strong>ARTE consacre la soir\u00e9e du 1<sup>er<\/sup> octobre \u00e0 Robert Altman avec deux films. Son plus c\u00e9l\u00e8bre, <em>M*A*S*H <\/em>(1970) \u00e0 20h50 et un titre moins connu en deuxi\u00e8me partie de programme\u00a0: <em>Fool for Love<\/em> (1985), r\u00e9alis\u00e9 alors que le cin\u00e9aste am\u00e9ricain est au creux de la vague avant son spectaculaire retour sur le devant de la sc\u00e8ne avec <em>The Player<\/em> en 1992. Il s\u2019agit d\u2019un film \u00e9crit et interpr\u00e9t\u00e9 par Sam Shepard d\u2019apr\u00e8s sa propre pi\u00e8ce de th\u00e9\u00e2tre, avec \u00e0 ses c\u00f4t\u00e9s Harry Dean Stanton et une d\u00e9butante nomm\u00e9e Kim Basinger. <em>Fool for Love<\/em> fut produit par le Cannon Group \u00e0 l\u2019\u00e9poque o\u00f9 la firme ind\u00e9pendante de Menahem Golan et Yoram Globus sp\u00e9cialis\u00e9e dans le cin\u00e9ma d\u2019exploitation cherchait \u00e0 d\u00e9velopper une politique \u00e9ditoriale plus prestigieuse en embauchant des auteurs internationaux de renom<em>.<\/em><\/strong><\/p>\n<p><strong>Des emplois \u00e0 la t\u00e9l\u00e9vision, de longues ann\u00e9es d\u2019apprentissage ingrat, d\u2019anonymat et d\u2019insucc\u00e8s distinguent Robert Altman des wonder boys du Nouvel Hollywood comme Francis Ford Coppola ou Martin Scorsese, qui ont vingt ans de moins que lui et conna\u00eetront des carri\u00e8res plus fulgurantes. Les premi\u00e8res tentatives au cin\u00e9ma (<em>The Delinquents<\/em> en 1957, <em>Countdown<\/em> en 1968 et <em>That Cold Day in the Park <\/em>en 1969) se solderont par des \u00e9checs. En 1970, Il accepte de mettre en sc\u00e8ne <em>M*A*S*H <\/em>apr\u00e8s que le film a essuy\u00e9 le refus d\u2019une douzaine de cin\u00e9astes prestigieux, indisponibles ou effray\u00e9s par le contenu scandaleux du sc\u00e9nario. Il a quarante-quatre ans et c\u2019est la gloire, enfin. Cette com\u00e9die antimilitariste se d\u00e9roulant pendant la Guerre de Cor\u00e9e obtient la Palme d\u2019Or au festival de Cannes, remporte un triomphe et consacre Altman comme un des auteurs les plus originaux du nouveau cin\u00e9ma am\u00e9ricain. Le film joue la carte de la contestation, en phase avec la mode hippie et l\u2019infiltration de la contre-culture jusque dans les grands studios hollywoodiens. <em>M*A*S*H <\/em>relate la vie dans un h\u00f4pital de campagne en Cor\u00e9e, mais il fut tourn\u00e9 alors que les combats s\u2019intensifiaient au Vi\u00eat-Nam et personne ne fut dupe sur la nature de la guerre d\u00e9crite par Altman. Le film s\u2019inscrit dans la tradition des r\u00e9cits guerriers insistant sur la truculence de la vie de garnison, dans la lign\u00e9e de ceux de Walsh par exemple. L\u2019antimilitarisme devient une valeur ajout\u00e9e, ainsi que l\u2019anticl\u00e9ricalisme \u00e0 la faveur d\u2019une parodie de la C\u00e8ne et des portraits d\u2019un aum\u00f4nier ridicule et d\u2019un officier bigot, stupide et hypocrite. Si le film est r\u00e9volutionnaire, c\u2019est avant tout par ses partis-pris formels extr\u00eamement audacieux. La mise en sc\u00e8ne et les innovations sonores et visuelles d\u2019Altman se r\u00e9v\u00e8lent passionnantes. Altman pousse \u00e0 son paroxysme un proc\u00e9d\u00e9 d\u00e9j\u00e0 employ\u00e9 par Hawks, l\u2019\u00ab\u00a0overlapping dialogue\u00a0\u00bb, qui consiste \u00e0 faire parler plusieurs personnages en m\u00eame temps, jusqu\u2019\u00e0 la cacophonie. Renforc\u00e9e par l\u2019utilisation de nombreuses pistes sonores, associ\u00e9e \u00e0 de tr\u00e8s longs plans d\u2019ensemble aux actions multiples, cette superposition installe un brouillage du sens qui rend parfaitement compte du chaos et de l\u2019anarchie que le cin\u00e9aste, t\u00e9moin cynique de son temps, s\u2019amuse \u00e0 enregistrer avec la complicit\u00e9 d\u2019une troupe d\u2019excellents com\u00e9diens, parmi lesquels Elliott Gould (qui r\u00e9appara\u00eetra dans le cin\u00e9ma d\u2019Altman) et Donald Sutherland, d\u00e9cha\u00een\u00e9s. Ces inventions formelles d\u00e9j\u00e0 en place dans le titre \u00e9talon du syst\u00e8me Altman se retrouveront dans presque tous ses films suivants, qui confirment son talent et son souci de perturber les mythologies hollywoodiennes par une bonne dose d\u2019ironie et de r\u00e9alisme.<\/strong><\/p>\n<div id=\"attachment_3454\" style=\"width: 1210px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-3454\" decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-3454\" src=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2011\/11\/mash.jpg\" alt=\"M*A*S*H* de Robert Altman (1970)\" width=\"1200\" height=\"950\" srcset=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2011\/11\/mash.jpg 1200w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2011\/11\/mash-353x280.jpg 353w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2011\/11\/mash-970x768.jpg 970w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2011\/11\/mash-580x459.jpg 580w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><p id=\"caption-attachment-3454\" class=\"wp-caption-text\"><strong><em>M*A*S*H<\/em> de Robert Altman (1970)<\/strong><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>ARTE consacre la soir\u00e9e du 1er octobre \u00e0 Robert Altman avec deux films. Son plus c\u00e9l\u00e8bre, M*A*S*H (1970) \u00e0 20h50\u2026<\/p>\n","protected":false},"author":116,"featured_media":3454,"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>M*A*S*H de Robert Altman - 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\/2018\/08\/01\/mash-de-robert-altman\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M*A*S*H de Robert Altman - Olivier P\u00e8re\" \/>\n<meta property=\"og:description\" content=\"ARTE consacre la soir\u00e9e du 1er octobre \u00e0 Robert Altman avec deux films. 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