{"id":7202,"date":"2012-08-30T16:11:26","date_gmt":"2012-08-30T14:11:26","guid":{"rendered":"http:\/\/olivierpere.wordpress.com\/?p=7202"},"modified":"2020-04-13T15:39:38","modified_gmt":"2020-04-13T14:39:38","slug":"la-cible-de-peter-bogdanovich","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2012\/08\/30\/la-cible-de-peter-bogdanovich\/","title":{"rendered":"La Cible de Peter Bogdanovich"},"content":{"rendered":"<p>Premi\u00e8re r\u00e9alisation du cin\u00e9aste cin\u00e9phile Peter Bogdanovich, alors au service de Roger Corman comme assistant et sc\u00e9nariste, <em>La Cible<\/em> (<em>Targets<\/em>, 1967) d\u00e9passe en ambition et en originalit\u00e9 les films \u00e0 petits budgets produits par le pape du cin\u00e9ma d&rsquo;exploitation am\u00e9ricain. Somm\u00e9 de livrer en un temps record une s\u00e9rie B avec Boris Karloff, en incluant des extraits de <em>The Terror<\/em> de Corman, Bogdanovich a l&rsquo;id\u00e9e g\u00e9niale de tourner deux films en un, sur le th\u00e8me de la violence et du cin\u00e9ma. Il oppose au cin\u00e9ma d&rsquo;\u00e9pouvante gothique, \u00e0 bout de souffle comme son interpr\u00e8te, l&rsquo;horreur documentaire des tueurs en s\u00e9rie. Karloff joue un acteur \u00e0 l&rsquo;\u00e2ge canonique, vestige de l&rsquo;Hollywood des ann\u00e9es 30 r\u00e9duit \u00e0 jouer les monstres dans des navets, tandis qu&rsquo;un jeune Am\u00e9ricain fanatique d&rsquo;armes \u00e0 feu abat froidement sa famille mod\u00e8le puis tue avec un fusil \u00e0 lunette des automobilistes et des spectateurs d&rsquo;un drive-in.<\/p>\n<p>Secr\u00e8tement aid\u00e9 par son ami Samuel Fuller, qui lui souffla l&rsquo;id\u00e9e, Bogdanovich signe l\u2019un des premiers films modernes du cin\u00e9ma am\u00e9ricain, petit chef-d&rsquo;\u0153uvre proph\u00e9tique bien plus terrifiant que <em>Scream<\/em> et <em>Bowling for Columbine<\/em> r\u00e9unis.<\/p>\n<p>La carri\u00e8re de Bogdanovich se poursuivra avec quelques-uns des plus gros succ\u00e8s critiques et commerciaux des ann\u00e9es 70 aux Etats-Unis (<em>La Derni\u00e8re S\u00e9ance<\/em>, <em>On s\u2019fait la valise, Doc?<\/em>, <em>Paper Moon<\/em>) qui monteront un peu \u00e0 la t\u00eate du jeune cin\u00e9aste, admirateur du cin\u00e9ma am\u00e9ricain classique qui se prend alors pour les nouveaux Welles, Ford Lubitsch et Hawks r\u00e9unis, encourag\u00e9 par une presse am\u00e9ricaine tr\u00e8s complaisante et m\u00eame d\u00e9lirante. Il est vrai que Bogdanovich fut le premier \u00e0 s\u2019int\u00e9resser en tant que critique et cin\u00e9phile aux grands cin\u00e9astes de l\u2019\u00e2ge d\u2019or hollywoodien, et il les a presque tous rencontr\u00e9 et leur a consacr\u00e9 des livres d\u2019entretiens qui demeurent des r\u00e9f\u00e9rences (sur Fritz Lang p\u00e9riode am\u00e9ricaine, Dwan, etc.) Leone pense un temps \u00e0 lui pour r\u00e9aliser <em>Il \u00e9tait une fois\u2026 la r\u00e9volution<\/em> mais l\u2019incompr\u00e9hension est grande entre les deux hommes et Bogdanovich rentre vite aux Etats-Unis. Apr\u00e8s ces films tr\u00e8s surestim\u00e9s, Bogdanovich r\u00e9alisera de graves \u00e9checs publics qui sont sans doute plus int\u00e9ressants, comme <em>Daisy Miller<\/em> (1974) et surtout <em>Enfin l\u2019amour<\/em>, com\u00e9die musicale qui est un tel fiasco qu\u2019elle met un terme en 1975 au bref \u00e9tat de gr\u00e2ce de Bogdanovich \u00e0 Hollywood, et anticipe les probl\u00e8mes que rencontreront Scorsese, Cimino, Friedkin et Coppola quelques ann\u00e9es plus tard.<\/p>\n<p>En 1979 Bogdanovich tourne \u00e0 Singapour (en grande partie dans l\u2019hotel appartenant toujours \u00e0 la famille d\u2019Eric Khoo\u00a0!) l\u2019excellent <em>Jack le magnifique<\/em> (<em>Saint Jack<\/em>), en rupture avec ses films pr\u00e9c\u00e9dents puisque ce film d\u2019aventures sans aventure avec Ben Gazzara, produit de nouveau par Roger Corman et Pierre Cottrell s\u2019apparente \u00e0 un \u00e9trange m\u00e9lange de s\u00e9rie B, de John Cassavetes et de cin\u00e9ma d\u2019auteur europ\u00e9en.<\/p>\n<p><em>Et tout le monde riait\u2026<\/em> (<em>They All Laughed<\/em>, 1981) \u00e0 l\u2019ambition cette fois-ci renoirienne, est l\u2019un des films pr\u00e9f\u00e9r\u00e9s de Quentin Tarantino. Bodganovich continue ensuite sa carri\u00e8re au cin\u00e9ma et la t\u00e9l\u00e9vision, comme r\u00e9alisateur et aussi comme acteur, mais dans l\u2019indiff\u00e9rence g\u00e9n\u00e9rale, m\u00eame si la nouvelle g\u00e9n\u00e9ration des jeunes cin\u00e9astes am\u00e9ricains le cite souvent comme une r\u00e9f\u00e9rence, ou du moins comme un vieil oncle bienveillant.<\/p>\n<p>Bogdanovich tient aussi un blog cin\u00e9phile d\u00e9di\u00e9 au cin\u00e9ma am\u00e9ricain classique et accueilli par Indiewire<\/p>\n<p><a href=\"http:\/\/blogs.indiewire.com\/peterbogdanovich\/tag\/picture-of-the-week\">http:\/\/blogs.indiewire.com\/peterbogdanovich\/tag\/picture-of-the-week<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Premi\u00e8re r\u00e9alisation du cin\u00e9aste cin\u00e9phile Peter Bogdanovich, alors au service de Roger Corman comme assistant et sc\u00e9nariste, La Cible (Targets,\u2026<\/p>\n","protected":false},"author":116,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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