{"id":24168,"date":"2019-12-20T20:19:05","date_gmt":"2019-12-20T19:19:05","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=24168"},"modified":"2020-04-03T17:40:24","modified_gmt":"2020-04-03T16:40:24","slug":"lawrence-darabie-de-david-lean-2","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2019\/12\/20\/lawrence-darabie-de-david-lean-2\/","title":{"rendered":"Lawrence d&rsquo;Arabie de David Lean"},"content":{"rendered":"<p><strong>ARTE rediffuse dimanche 16 f\u00e9vrier \u00e0 20h55 <em>Lawrence d\u2019Arabie<\/em>\u00a0(<em>Lawrence of Arabia<\/em>, 1962) de David Lean, dans sa version longue supervis\u00e9e par le cin\u00e9aste lui-m\u00eame en 1989. A partir du\u00a0<em>Pont de la rivi\u00e8re Kwa\u00ef<\/em> en 1957 le cin\u00e9aste anglais David Lean dont l\u2019\u0153uvre alternait adaptations litt\u00e9raires et chroniques de la soci\u00e9t\u00e9 et des m\u0153urs britanniques se tourne vers le monumentalisme cin\u00e9matographique. Ses films deviennent des superproductions ambitieuses, voire hypertrophi\u00e9es, mettant en sc\u00e8ne des sujets historiques avec une pl\u00e9iade de vedettes internationales, caract\u00e9ris\u00e9es par un perfectionnisme et une ma\u00eetrise maniaque du moindre d\u00e9tail assez exceptionnels. C\u2019est l\u2019heure de la cons\u00e9cration pour David Lean, mais aussi de l\u2019enfermement dans des productions de plus en plus lourdes et co\u00fbteuses, et du risque de l\u2019acad\u00e9misme illustratif. Cependant, Lean conserve le go\u00fbt du risque et il n\u2019a pas peur des sujets \u00e0 pol\u00e9mique, en rapport direct avec l\u2019histoire du XX\u00e8me si\u00e8cle. Lean, loin d\u2019\u00eatre un cin\u00e9aste r\u00e9volutionnaire, critique pourtant la tradition militaire et l\u2019empire colonial anglais dans ses deux films les plus c\u00e9l\u00e8bres, deux grandes r\u00e9ussites qui sont aussi le portrait de deux grands obsessionnels, \u00e0 la limite de la pathologie, <em>Le Pont de la rivi\u00e8re Kwa\u00ef\u00a0<\/em>et surtout\u00a0<em>Lawrence d\u2019Arabie<\/em>. Ce dernier film s\u2019inspire librement des\u00a0<em>Sept Piliers de la sagesse<\/em>, vaste r\u00e9cit autobiographique publi\u00e9 en 1926 dans lequel T. E. Lawrence raconte ses aventures. Le film de Lean en retrace les \u00e9pisodes majeurs, en prenant une certaine distance avec Lawrence. En 1916, le jeune officier britannique T. E. Lawrence est charg\u00e9 d\u2019enqu\u00eater sur les r\u00e9voltes des B\u00e9douins contre l\u2019occupant turc. Celui qu\u2019on appellera plus tard \u00ab Lawrence d\u2019Arabie \u00bb se range alors du c\u00f4t\u00e9 des insurg\u00e9s et, dans les dunes \u00e9ternelles du d\u00e9sert, organise une gu\u00e9rilla. Il m\u00e8ne la lib\u00e9ration de Damas et devient l\u2019un des principaux artisans de l\u2019unit\u00e9 arabe. Personnage brillant mais controvers\u00e9, il va mener des batailles aux c\u00f4t\u00e9s de ses alli\u00e9s et changer la face d\u2019un empire. Ce chef-d\u2019\u0153uvre dresse le portrait d\u2019un personnage ambigu \u00e0 tous points de vue \u2013 militaire, politique, sexuel \u2013 loin des h\u00e9ros de films d\u2019aventures classiques. Lawrence est un lib\u00e9rateur mais c\u2019est aussi un corrupteur qui va semer la mort et la discorde autour de lui, achevant sa carri\u00e8re militaire dans un bain de sang inutile qui le montre d\u00e9finitivement souill\u00e9 par l\u2019ivresse et l\u2019obsc\u00e9nit\u00e9 de la guerre. Consacrer une superproduction \u00e0 un personnage trouble et peu sympathique sans rien dissimuler de ses faiblesses, de son masochisme et de son exhibitionnisme n\u2019est pas la moindre des audaces de\u00a0<em>Lawrence d\u2019Arabie<\/em>, \u00e9pop\u00e9e de l\u2019\u00e9chec, histoire d\u2019un Anglais phobique obs\u00e9d\u00e9 par la puret\u00e9 qui aimait le d\u00e9sert \u00ab\u00a0parce que c\u2019est propre.\u00a0\u00bb<\/strong><\/p>\n<p><strong><em>Lawrence d\u2019Arabie<\/em>\u00a0ouvre litt\u00e9ralement une br\u00e8che moderniste dans la filmographie de Lean, avec des audaces qui le distingue des films pr\u00e9c\u00e9dents du r\u00e9alisateur mais aussi des fresques \u00e9piques \u00e0 gros budget des ann\u00e9es 50 et 60. La longueur inhabituelle de certaines sc\u00e8nes, le sublime raccord entre un gros plan d\u2019allumette qu\u2019on \u00e9teint et un lever de soleil dans le d\u00e9sert, des \u00e9clairs sid\u00e9rants de violence et de folie annoncent les visions de Stanley Kubrick (<em>2001: l\u2019odyss\u00e9e de l\u2019espace<\/em>) et Sergio Leone (<em>Il \u00e9tait une fois dans l\u2019ouest<\/em>), autres ma\u00eetres en spectacles d\u00e9mesur\u00e9s o\u00f9 la grande Histoire croise des espaces purement mentaux et des psych\u00e9s d\u00e9r\u00e9gl\u00e9es.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>ARTE rediffuse dimanche 16 f\u00e9vrier \u00e0 20h55 Lawrence d\u2019Arabie\u00a0(Lawrence of Arabia, 1962) de David Lean, dans sa version longue supervis\u00e9e\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 - 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