Cours de cinéma donné par Hélène Valmary, maîtresse de conférences en études cinématographiques, le vendredi 11 octobre 2024 au Forum des images.
Pourquoi et comment certain·es acteur·ices de comédies romantiques des années 1990 (Julia Roberts et Richard Gere, Meg Ryan et Tom Hanks) ont rencontré à la fois ce genre et ces partenaires, participant à construire et à nourrir les motifs récurrents de cette période de la romcom ?
-- Dans le cadre de la thématique Refaire l'amour - La comédie romantique dans tous ses états
https://www.forumdesimages.fr/refaire...
-- Les cours de cinéma
Chaque vendredi à 18h30, entrée libre. Accueillant et enrichissant. Le bon plan de fin de semaine des cinéphiles !
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Pourquoi et comment certain·es acteur·ices de comédies romantiques des années 1990 (Julia Roberts et Richard Gere, Meg Ryan et Tom Hanks) ont rencontré à la fois ce genre et ces partenaires, participant à construire et à nourrir les motifs récurrents de cette période de la romcom ?
-- Dans le cadre de la thématique Refaire l'amour - La comédie romantique dans tous ses états
https://www.forumdesimages.fr/refaire...
-- Les cours de cinéma
Chaque vendredi à 18h30, entrée libre. Accueillant et enrichissant. Le bon plan de fin de semaine des cinéphiles !
https://www.forumdesimages.fr/les-cou...
---
Le Forum des images : au centre de Paris, bat le cœur du 7e art !
Rencontres exceptionnelles, cours de cinéma et conférences, festivals… un concentré du meilleur de ce qui se passe toute l’année au Forum des images.
Toute la programmation : http://www.forumdesimages.fr/
@forumdesimages et #forumdesimages
Category
🎥
Court métrageTranscription
00:00:00Bonsoir à toutes et tous et donc bienvenue pour cette conférence, je vous propose, enfin je vous
00:00:15impose une conférence en trois temps. D'abord on va partir d'un extrait de Quand Harry rencontre
00:00:20Sally pour essayer de faire émerger un certain nombre de caractéristiques de la comédie
00:00:26romantique des années 90, notamment telles que les acteurs et les actrices nous permettent de les
00:00:31comprendre et puis de les mettre en lumière, pour essayer de voir d'où vient cette comédie
00:00:35romantique, ce dont elle hérite et ce dont les acteurs de ces comédies héritent, pour ensuite
00:00:41voir ce qu'ils en font à travers deux études de cas qui laisseront quand même la part belle
00:00:46plutôt aux actrices, donc autour de Meg Ryan et Tom Hanks et Julia Roberts et Hugh Grant et Richard
00:00:52Gere. Donc on va considérer, même si les bornages chronologiques peuvent se discuter, mais que la
00:00:58comédie romantique des années 90 elle naît avec Quand Harry rencontre Sally, c'est un film de
00:01:031988 qui est réalisé par Rob Reiner mais surtout qui est écrit par Nora Ephron qui sera ensuite
00:01:08la réalisatrice de Nuit Blanche à Seattle et vous avez un message, deux films qui vont réunir le
00:01:16duo Tom Hanks et Meg Ryan, c'est un film qui met en scène Billy Crystal et Meg Ryan, donc Billy
00:01:23Crystal au moment du film il est connu comme acteur comique, il vient de la télévision et du Saturday
00:01:29Night Live, Meg Ryan n'est pas très très connue, elle a eu quelques second rôles dans Top Gun en
00:01:351986 où elle jouait la femme et puis la veuve, enfin Goose meurt dans Top Gun, vous le savez
00:01:42maintenant, et la veuve de Goose et aussi un rôle dans l'aventure intérieure de Joe Dante aux côtés
00:01:47de Dennis Quaid qui sera son compagnon à la ville, c'était mon moment potin du jour. Donc dans
00:01:54Quand Harry rencontre Sally, les deux personnages se rencontrent pour un temps de covoiturage qui
00:01:59les mène de Chicago à New York et qui les voit discuter, se rendre compte et acter quand même
00:02:05de leurs grandes différences quant à leur vision du monde et surtout des relations entre les hommes
00:02:10et les femmes, ils se quittent donc à New York et se retrouvent par hasard dans un aéroport puis un
00:02:15avion, cinq ans plus tard, elle est en couple, lui va se marier, ils sont toujours pas trop trop
00:02:21d'accord sur ces relations et vont se retrouver trois ans, enfin peut-être pas trois ans, quelques
00:02:29années plus tard et cette fois-ci ils sont tous les deux célibataires et ça va être le début de
00:02:37leur histoire d'amitié. Alors comme l'indique un petit peu ce résumé du film, les comédies
00:02:43romantiques des années 90, c'est des comédies du temps long, c'est-à-dire que c'est pas, on tombe
00:02:47pas amoureux au premier regard et puis les choses s'emballent, au contraire, il faut du temps pour
00:02:52se connaître, se reconnaître, se détester et puis s'aimer et peut-être que ce principe-là du
00:02:58temps long participe aussi au-delà des intérêts économiques au fait qu'un certain nombre de ces
00:03:02couples se sont retrouvés après de longues années d'un film, d'une comédie romantique à l'autre,
00:03:09donc Meg Ryan et Tom Hanks dans Nuit Blanche à Seattle en 93 et puis Vous Avez Un Message en
00:03:1498, Julia Roberts et Richard Gere en 1990 dans Pretty Woman et puis dans Runaway Bride du même
00:03:24réalisateur en 99 et puis aussi, même si je les évoquerai assez peu, c'est quand même la
00:03:29magnifique trilogie de Richard Linklater, Before Sunrise, Before Sunset et Before Midnight qui
00:03:34nous voit, qui voit les sentiments grandir et l'histoire d'amour se former entre Julie Delpy
00:03:39et Ethan Hawke. Donc on va commencer par un extrait de Quand Harry Rencontre Sally qui peut
00:03:46démarrer maintenant, dès que les lumières sont éteintes et à partir de là on va déployer un
00:03:51petit peu des pistes sur les acteurs et actrices de la comédie romantique des années 90.
00:03:59Quand Harry rencontre Sally, Before Sunrise, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight,
00:04:29Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before
00:04:59Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Midnight, Before Mid
00:05:29Bordel de merde
00:05:59I'll have the balsamic vinegar and oil, but on the side.
00:06:02And then the salmon with the mustard sauce, but I want the mustard sauce on the side.
00:06:05On the side is a very big thing for you.
00:06:07Well, I just want it the way I want it.
00:06:09I know. High maintenance.
00:06:23Ooh, best last line of a movie ever.
00:06:26Hmm.
00:06:29I'm definitely coming down with something.
00:06:31Probably a 24-hour tumor they're going around.
00:06:34You don't have a tumor.
00:06:35How do you know?
00:06:36If you're so worried, go see a doctor.
00:06:38No, he'll just tell me it's nothing.
00:06:41Will you be able to sleep?
00:06:42If not, I'll be okay.
00:06:44What will you do?
00:06:45I'll stay up and moan.
00:06:47Maybe I should practice now.
00:06:55Good night, Harry.
00:06:58Good night.
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00:47:36J'ai eu un accident et j'ai rencontré Rick en achetant un bras de nez.
00:47:40Attends un instant.
00:47:41Tu ne m'as jamais dit que tu étais divorcée à cause d'un arbre mort.
00:47:45L'arbre mort.
00:47:47Tu t'es amoureuse de l'arbre mort ?
00:47:48Je n'ai pas dit l'amour.
00:47:50J'ai-je dit l'amour ?
00:47:51C'est ma partie préférée.
00:47:55C'est maintenant ou jamais.
00:47:58« Jamais » est un mot effrayant.
00:48:01Nous serions fous de laisser ça se passer.
00:48:07L'hiver doit être froid pour ceux qui n'ont pas de souvenirs chauds.
00:48:13Nous avons déjà manqué l'hiver.
00:48:18Les hommes ne prennent jamais ce film.
00:48:20Je sais.
00:48:37Entre le film à la télé et la lettre pour Tom Hanks.
00:48:41Entre ce film à la télé dont elle articule les répliques
00:48:45comme elle articulait « You've got mail » tout à l'heure en ouvrant son ordinateur.
00:48:48Et puis le monde réel dans lequel elle mange.
00:48:51Entre son rendez-vous en haut de l'Empire State Building
00:48:54qu'elle voudrait avoir avec Tom Hanks
00:48:56et en même temps Walter qui est son fiancé
00:48:58et avec lequel elle sera en réalité à New York.
00:49:01Entre ce bureau qui est à l'arrière-plan et ce canapé à l'avant-plan.
00:49:06Et aussi entre elle et elle.
00:49:08« Ah ben oui, I can squeeze it in, ce petit rendez-vous. »
00:49:11« Ah ben non, en fait je serai avec Walter. »
00:49:13Donc elle n'arrête pas de passer d'un endroit à un autre, d'un côté à un autre.
00:49:19Et ça c'est quelque chose d'assez caractéristique des personnages de Meg Ryan.
00:49:22Qui aussi de droite à gauche, de haut en bas aussi
00:49:25comme on l'a vu dans l'extrait de « Quand Harry rencontre Sally ».
00:49:28Et qui est dans une chose et son contraire.
00:49:31Elle est celle qui dit « Je te déteste » pour dire « Je t'aime » à Harry
00:49:35à la fin du film.
00:49:36Et qui dans « Vous avez un message » aime l'homme qu'elle croit détester.
00:49:42Et parfois on pourra comprendre la relation à venir entre les personnages
00:49:48quand on verra que malgré ces dialogues qui disent des oppositions
00:49:52les personnages aussi ensemble
00:49:54et dans la deuxième rencontre entre Harry et Sally à l'aéroport
00:49:58ils ne sont pas du tout d'accord et en même temps
00:50:00ils penchent du même côté ou ils disent oui exactement en même temps.
00:50:04Donc le jeu des acteurs nous fait pressentir déjà la relation à venir.
00:50:12Ce qu'on a aussi dans cet extrait, c'est ce jeu de main vers la télévision
00:50:17où elle a les mains complètement tendues vers l'amour de elle et lui
00:50:21qui nous révèle son désir de rendre concret,
00:50:25de ramener à elle cette histoire et cette fiction.
00:50:28Vous la voyez, on a l'impression qu'elle prend elle et lui
00:50:31et qu'elle le ramène à elle avec ce geste-là
00:50:32que ça la rend aussi plus fort.
00:50:35Mais le jeu ici nous dit bien la tension qu'il anime,
00:50:39qu'il y a pour elle entre le réel et la fiction
00:50:43et avec cette volonté de ramener à elle et au réel, hors de la télévision,
00:50:47ce désir de magie et d'amour,
00:50:50I want to be in love in a movie,
00:50:52qui l'anime.
00:50:54Désir qui peut-être s'assouvit un peu,
00:50:57peut-être pour le spectateur plus que pour elle,
00:50:59avec ce plan un peu étonnant dans l'extrait,
00:51:01un plan qui n'a pas d'autre,
00:51:04qui est le seul de cette taille-là et de cet éclairage-là
00:51:08qui arrive, qui resserre sur elle au moment où elle vient s'asseoir,
00:51:12rejoindre sa copine sur le canapé,
00:51:15avec cette espèce de lumière qui vient de derrière
00:51:17et qui semble l'éclairer un peu comme une star de cinéma hollywoodien.
00:51:21Un type de plan qui, moi, me faisait penser
00:51:23au seul qu'on a comme ça dans New York-Miami
00:51:26où tout à coup on se rapproche du personnage de Claudette Colbert
00:51:28avec des larmes aux yeux.
00:51:31Et puis dans ces oscillations et cette tension,
00:51:36et je vais vous dire ce que je pense qu'elle nous raconte,
00:51:39il y a aussi ce geste final, je ne sais pas si vous avez fait attention,
00:51:42où on a l'impression qu'elle va se rapprocher
00:51:44et poser sa tête sur l'épaule de sa copine
00:51:46et puis elle revient en arrière, elle s'interrompt,
00:51:49on parle bien de ces va-et-vient,
00:51:51ce qui nous révèle de quelle manière
00:51:54il y a quelque chose qui reste là en suspension,
00:51:56en attente peut-être d'accomplissement.
00:51:59Alors là c'est un geste qui est entre elle et sa copine,
00:52:02mais en fait il me semble que dans un certain nombre
00:52:05de ces comédies romantiques des années 90,
00:52:07il y a une espèce de poétique du geste suspendu.
00:52:10Il y en a souvent des acteurs qui avancent vers un autre
00:52:13et puis qui s'arrêtent.
00:52:15Alors j'en ai mis quelques occurrences,
00:52:17ici c'est Al Pacino et Ethan Hawke
00:52:19qui voudraient bien mettre la main dans les cheveux
00:52:21de Michel Pfeiffer ou de Julie Delpy,
00:52:23mais qui finalement ramènent cette main
00:52:26vers eux et puis c'est aussi dans un extrait
00:52:29qu'on va voir tout à l'heure,
00:52:31c'est aussi Julia Roberts qui avance la main
00:52:34vers Hugh Grant dans Coup de foudre à Notting Hill,
00:52:36je pense que vous le voyez un petit peu.
00:52:39Et en fait il me semble que dans la séquence,
00:52:44Meg Ryan qui est prise entre son désir et sa réalité,
00:52:50elle fait penser à une héroïne de mélodrame
00:52:53et plus particulièrement c'est Douglas Sirk
00:52:56c'est un peu le fantôme de Douglas Sirk
00:52:58qui me semble planer ici
00:53:00et plus précisément celui de son chef d'oeuvre
00:53:03Tout ce que le ciel permet qui date de 1955
00:53:05dans lequel une femme veuve tombe amoureuse de son tree man
00:53:09comme la copine raconte,
00:53:11elle n'a pas été amoureuse la copine, c'était autre chose,
00:53:13mais qu'elle a pu l'être.
00:53:15Ce tree man c'était Rocketson qui a aussi joué
00:53:17dans les sex-comedies avec Doris Day
00:53:19dont on parlait tout à l'heure
00:53:21et donc femme veuve amoureuse de son tree man
00:53:24qui se voyait à la fin du film un peu condamnée
00:53:27par ses enfants lui offrant un poste de télévision
00:53:29et bien de, alors vous avez ici Rocketson en tree man
00:53:33qui montre à Carrie la branche de l'arbre
00:53:38aux gouttes d'or qui ne pousse que là où il y a des amoureux
00:53:41voilà, tout est déjà là
00:53:43et donc à la fin du film ses enfants offrent,
00:53:46ses enfants odieux comme souvent chez Douglas Sirk
00:53:48offrent à cette mère qu'ils ont empêchée d'aimer le tree man
00:53:52lui offre une télévision et l'idée c'est que maintenant
00:53:55les grandes histoires, les grandes histoires d'amour
00:53:57elles ne les vivent qu'à travers la télévision
00:53:59mais Griane elle ne veut pas les vivre à travers la télévision
00:54:01elle veut les incorporer et donc c'est un personnage
00:54:04qui à la fois donc aussi on l'a vu entre la terre et le ciel
00:54:08avec cette marguerite, ce blanc et ce jaune
00:54:10entre l'enfance et l'âge adulte
00:54:12entre peut-être aussi le cartoon et la prise de vue réelle
00:54:15et entre le réel et la fiction ou la fiction hollywoodienne
00:54:19mais elle aussi peut-être entre la comédie
00:54:21et le mélodrame, elle incarne peut-être dans la comédie
00:54:25la tentation ou la peur du mélodrame
00:54:28et c'est peut-être cela qui à la fois motive, interrompt
00:54:31ou arrête ces gestes suspendus de ces acteurs et ces actrices
00:54:34la tentation et la peur en même temps de basculer
00:54:37de sortir de la comédie pour basculer dans le mélodrame
00:54:41entre Julia Roberts, on passe à la troisième partie
00:54:45de cette conférence, entre Julia Roberts, Hugh Grant
00:54:47et Richard Gere il va aussi être question d'enfants
00:54:49d'hommes perdus, de fleurs mais pas les mêmes
00:54:52et de mélodrames.
00:54:54Il y a un ouvrage sur les comédies romantiques
00:54:57qui s'appelle Romantic Comedy, c'est pas beaucoup réfléchi
00:55:00de Claire Mortimer et quand elle parle
00:55:02des comédies romantiques britanniques
00:55:044 mariages et 1 enterrement de Mike Newell en 1994
00:55:07et Coup de foudre à Notting Hill de Roger Mitchell en 1999
00:55:11elle qualifie Hugh Grant de little boy lost
00:55:14petit garçon perdu et de Peter Pan like character
00:55:18et de personnage à la Peter Pan, cette expression
00:55:21renvoyant non seulement à ce côté enfant
00:55:24qui serait le sien mais aussi à une dimension
00:55:27un peu fantastique, un peu fantaisiste
00:55:29donc on retrouve en partie Tom Hanks ici.
00:55:32Par ailleurs l'accent anglais et la filmographie
00:55:35antérieure de Hugh Grant, je pense notamment
00:55:38évidemment à ses collaborations avec James Ivory
00:55:41puisqu'il jouait dans Maurice en 1987
00:55:43et dans le chef d'oeuvre Les vestiges du jour en 1993
00:55:45le rattache aussi à une vision de l'anglais
00:55:50et de ces citoyens anglais qui sont prisonniers
00:55:54de traditions et de règles de bienséance
00:55:57et de pudeur aussi notamment dans l'expression
00:55:59des sentiments amoureux, revoyez ce pauvre
00:56:02Anthony Hopkins dans Les vestiges du jour
00:56:04vous avez ici rappelé cette caractéristique
00:56:08ou ce cliché de l'anglais dans un échange
00:56:11de 4 mariages et 1 enterrement
00:56:14et donc dans ces comédies romantiques
00:56:17Hugh Grant sera bien perdu
00:56:19ce que l'on pourra voir à différentes reprises
00:56:22avec une caméra qui s'attarde sur son regard
00:56:26un peu dans le vide juste après le départ
00:56:29d'une femme qu'il n'a pas su ou pu garder à ses côtés
00:56:32s'il est perdu, c'est évidemment face au mystère
00:56:35de la femme, de ces personnages féminins
00:56:37qui sont d'autant plus mystérieuses
00:56:39que lui est anglais et qu'elles sont américaines
00:56:41ce sont Andy MacDowell et Julia Roberts
00:56:42et donc elles sont aussi libérées et confiantes en elles
00:56:45puisque l'Amérique c'est le monde
00:56:47que lui est peureux et maladroit
00:56:50et donc on va regarder un petit extrait
00:56:53de Coup de foudre à Notting Hill
00:56:55dans ce film il y a un libraire
00:56:57qui tient une petite boutique
00:56:59dans un petit quartier, un petit village
00:57:01presque à l'intérieur de Londres
00:57:03et un jour rentre Anna Scott, Julia Roberts
00:57:06c'est presque Julia Roberts pour de vrai
00:57:09qui rentre dans cette librairie
00:57:11qui est une grande star
00:57:13de blockbusters hollywoodiens
00:57:15elle rentre dans cette petite librairie
00:57:17et elle semble amusée, attirée
00:57:19par cet homme et son humour
00:57:22un peu à pince sans rire
00:57:24elle va le recontacter
00:57:26ils vont se retrouver une fois
00:57:28pour une séance d'interview très officielle
00:57:30dans un hôtel et puis elle va passer une soirée
00:57:32avec lui et sa bande de copains
00:57:34puisque dans les comédies romantiques
00:57:36la bande de copains est importante
00:57:38l'extrait qu'on va voir se situe
00:57:39à l'issue de cette soirée
00:57:41il rentre de la soirée chez les copains
00:57:43où elle a appris que son surnom
00:57:45quand il était petit c'était Flopsy
00:57:47un molasson je vous le dis
00:57:49parce qu'on va le retrouver dans l'extrait
00:57:51et donc ils marchent tous les deux
00:57:53dans les rues de la ville
00:57:55l'idée c'est de voir avec cet extrait
00:57:57comment se dessine son personnage
00:57:59d'enfant et homme un peu d'un autre temps
00:58:01et ce qui va se jouer dans la rencontre
00:58:03entre les deux à la fois dans le narratif
00:58:05dans le scénario de la scène
00:58:07et puis dans le jeu des deux acteurs
00:58:09dans le jeu des deux acteurs
00:58:39...
00:59:08...
00:59:37...
01:00:02...
01:00:21Alors on retrouve l'opposition
01:00:23entre des personnages qui passent
01:00:25par un certain nombre d'éléments physiques
01:00:27il a les mains dans les poches
01:00:29elle a les mains libres
01:00:31et puis quand il y arrive
01:00:33il y a cette peur de la castration
01:00:35qui surgit et c'est elle qui va le faire
01:00:37il veut respecter les règles
01:00:39pas elle, il parle comme une personne
01:00:41il y a cinquante ans ou un enfant
01:00:43elle lui redonne d'ailleurs le surnom
01:00:45qui était le sien quand il était petit
01:00:47et il essaie de faire donc
01:00:49bonne figure
01:00:54avec son visage qui se ferme
01:00:56quand il dit non non non
01:00:59j'ai rien dit
01:01:01mais il ne peut pas s'empêcher
01:01:03et je pense que c'est un test d'humanité
01:01:05d'être contaminé par le sourire
01:01:07et le rire de Julia Roberts
01:01:09qui apparaît ici
01:01:11tout en spontanéité
01:01:13que ce soit dans le fait
01:01:15de faire ce qu'elle a envie
01:01:17quand elle en a envie
01:01:19mais aussi par la manière
01:01:21dont son rire éclate
01:01:23et ses mains s'agitent d'excitation
01:01:25quand il dit whoopsie daisies
01:01:27entre lui qui n'arrive pas
01:01:29à contenir ses whoopsie daisies
01:01:31et elle qui ne peut pas
01:01:33contenir ses éclats de rire
01:01:35et son excitation
01:01:37ce qui se joue pour chacun d'entre eux
01:01:39c'est d'arriver à sortir
01:01:41de leur corps
01:01:43ce qui se joue scénaristiquement
01:01:45et dans le jeu
01:01:47c'est d'aller au-delà des apparences
01:01:49d'enjamber, de passer par dessus
01:01:51les barrières, les règles
01:01:53qui voudraient contenir
01:01:55les poches ou les gens
01:01:57à l'extérieur des jardins
01:01:59pour aller voir ces belles choses
01:02:01qui peut-être s'y cachent
01:02:03évidemment dans l'extrait
01:02:05au-delà des apparences
01:02:07et ces jardins qu'il y a à explorer
01:02:09c'est Julia Roberts
01:02:11la star de Blockbuster
01:02:13il faut aller voir au-delà
01:02:15de l'image qu'on en a
01:02:17par les médias
01:02:19et il faut aller voir
01:02:21ce jardin qu'elle est
01:02:23puisque l'extrait
01:02:25qu'elle vient de lui donner
01:02:27et c'est aussi parce que
01:02:29vestimentairement
01:02:31dans cet extrait
01:02:33c'est bien un jardin
01:02:35cette petite veste
01:02:37à fleurs
01:02:39qui n'est pas sans rappeler
01:02:41le peignoir à fleurs
01:02:43qu'elle revêt
01:02:45à la fin de Pretty Woman
01:02:47si Meg Ryan est associée
01:02:49à la marguerite
01:02:51c'est pas le cas de Julia Roberts
01:02:53même si elle en a porté le prénom
01:02:55qui a fait qu'elle a été choisie
01:02:57pour jouer Vivian
01:02:59dans Pretty Woman
01:03:01même si elle en a porté le prénom
01:03:03même si elle porte une couronne
01:03:05avec des marguerites
01:03:07dans le film Runaway Bride
01:03:09mais justement
01:03:11elle va s'enfuir de ce mariage
01:03:13parce qu'elle ne veut pas
01:03:15de l'amour marguerite
01:03:17Julia Roberts
01:03:19elle n'en est pas une
01:03:21et vous avez vu
01:03:22la marguerite
01:03:24c'est quelque chose
01:03:26qui a à voir avec le vieillot
01:03:28et dont elle se moque gentiment
01:03:30et dans le film
01:03:32si les couleurs de la marguerite
01:03:34apparaissent
01:03:36c'est dans une scène
01:03:38en particulier
01:03:40la scène très formelle
01:03:42où elle doit recevoir
01:03:44à tour de rôle
01:03:46les journalistes
01:03:48avec un certain nombre
01:03:50de questions à poser
01:03:52ou à un monde régi
01:03:54par des règles
01:03:56et des contraintes très précises
01:03:58dont elle veut s'émanciper
01:04:00Julia Roberts
01:04:02n'est pas une marguerite
01:04:04c'est un jardin
01:04:06et quand elle est associée
01:04:08à une couleur
01:04:10ce n'est pas le blanc
01:04:12et le jaune
01:04:14c'est le rouge
01:04:16qui va dominer
01:04:18dans ses vêtements
01:04:20dans le mariage
01:04:22de mon meilleur ami
01:04:24dans Pretty Woman
01:04:26elle va assister
01:04:28dans sa robe rouge
01:04:30collier rouge
01:04:32rouge à lèvres
01:04:34à une représentation
01:04:36de la Traviata
01:04:38qui est un opéra
01:04:40de la trilogie populaire
01:04:42de Verdi
01:04:44qui est une adaptation
01:04:46de la Dame aux Cabellias
01:04:47celle de Viviane
01:04:49le personnage
01:04:51dans Pretty Woman
01:04:53celle d'une femme
01:04:55de petite vertu
01:04:57qui va tomber amoureuse
01:04:59et réciproquement
01:05:01d'un homme riche
01:05:03mais ce n'est pas son histoire
01:05:05puisqu'à la fin
01:05:07de Pretty Woman
01:05:09contrairement au scénario
01:05:11d'origine
01:05:13et à la Traviata
01:05:15la prostituée Viviane
01:05:17ne meurt pas
01:05:19mais se voit apporter
01:05:21des roses rouges
01:05:23par son riche prince charmant
01:05:25qu'elle va se proposer
01:05:27de sauver à son tour
01:05:29et elle fait plus penser
01:05:31à la fée Viviane
01:05:33des légendes arthuriennes
01:05:35qui sauva et éduqua Lancelot
01:05:37personnage Lancelot
01:05:39que jouera Richard Gire
01:05:41dans un film de Jerry Secker
01:05:43en 1995
01:05:45qui révèle qu'une autre fin
01:05:47est possible à l'histoire
01:05:49de Marguerite Gauthier
01:05:51une fin qui à la fois reprend
01:05:53et inverse celle traditionnelle
01:05:55des contes de fées
01:05:57une fin qui joue
01:05:59avec les codes et les stéréotypes
01:06:01ce qui pourrait caractériser
01:06:03la persona de Julia Roberts
01:06:05au cinéma qui n'est pas une femme
01:06:07comme les autres
01:06:09en tout cas qui n'est pas
01:06:11une femme comme on peut
01:06:13je ne m'y connais pas en voiture
01:06:15je suis une femme cliché
01:06:17les courroies de transmission
01:06:19les boîtes de vitesse
01:06:21et le nombre de cylindres
01:06:23n'ont pas de secret pour elle
01:06:25elle répare des baignoires
01:06:27dans Runaway Bride
01:06:29elle est à la fois
01:06:31une star inaccessible
01:06:33hollywoodienne
01:06:35et dans cette magnifique réplique
01:06:37de la fin de Coup de foudre
01:06:39à Notting Hill
01:06:41elle essaie de faire capoter
01:06:43le mariage de son meilleur ami
01:06:45dont elle va se révéler être amoureuse
01:06:47dans les comédies romantiques
01:06:49des années 90
01:06:51elle va incarner un certain nombre
01:06:53de personnages types
01:06:55que ce soit la fille de la campagne
01:06:57la prostituée, la meilleure copine
01:06:59la star hollywoodienne
01:07:01ou la mangeuse d'hommes
01:07:03reprenant par là
01:07:05un certain nombre de tropes
01:07:07de la comédie hollywoodienne
01:07:09celui de la mariée
01:07:11du premier ami de Franck Capra
01:07:13c'est aussi Show People
01:07:15de King Vidor en 1928
01:07:17et donc ce sera Julia Roberts
01:07:19dans Runaway Bride
01:07:21à la fin de la décennie
01:07:23en 1999
01:07:25mais c'est aussi
01:07:27pour revenir sur les contes de fées
01:07:29le conte de Cendrillon
01:07:31qui est convoqué
01:07:33dans sa filmographie
01:07:35parfois pas nommément
01:07:37mais je pense à son personnage
01:07:39dans Mystique Pizza
01:07:41où tu es en train de vivre
01:07:43dans un romance
01:07:45qui tombe amoureuse
01:07:47d'un homme marié
01:07:49et tu crois qu'il va te quitter
01:07:51dans un livre
01:07:53dans une fiction
01:07:55et néanmoins
01:07:57elle va rencontrer
01:07:59un homme riche
01:08:01et elle va abandonner
01:08:03sa chaussure
01:08:05dans un jeu de pisse
01:08:07qui mènera à la chambre à coucher
01:08:08qui va être rejoué d'une certaine manière
01:08:10et cette fois-ci
01:08:12ce n'est pas Julia Roberts
01:08:14qui va réussir
01:08:16à faire s'arrêter une voiture
01:08:18mais c'est son copain
01:08:20qui va baisser son pantalon
01:08:22c'est juste pour dire
01:08:24qu'on convoque
01:08:26des figures récurrentes
01:08:28de ces comédies classiques
01:08:30mais on essaie de les déjouer
01:08:32et c'est présent dans sa filmographie
01:08:34avant ses comédies romantiques
01:08:36mais Cendrillon
01:08:38qui va rester dans le Pretty Woman
01:08:40à la fin
01:08:42où c'est un nouveau bal pour Cendrillon
01:08:44à la fin du mariage de mon meilleur ami
01:08:46qui a aussi un rappel
01:08:48de ce que Marc Cérusiello
01:08:50qui est venu ici appelle
01:08:52les comédies de contes de fées de la crise
01:08:54dont fait partie New York Miami
01:08:56qui raconte ces histoires
01:08:58de personnages de femmes
01:09:00mais parfois d'hommes aussi
01:09:02je pense à My Man Godfrey
01:09:04dont on a vu un extrait
01:09:06avec Oral Lombard tout à l'heure
01:09:08donc on a cette référence à Cendrillon
01:09:11qui peut fonctionner à la fois
01:09:13pour attester d'une dimension
01:09:15un peu enfantine du personnage
01:09:17mais qui est aussi
01:09:19comme un point de départ
01:09:21pour détourner les stéréotypes
01:09:23pour renverser les rôles
01:09:25c'est un jeu qu'on pourra trouver
01:09:27dans d'autres comédies romantiques
01:09:29sans Julia Roberts
01:09:31mais avec sa soeur Sandra Bullock
01:09:33je pense à L'Amour à tout prix
01:09:35où quand elle est enfant
01:09:37elle va veiller dans sa chambre d'hôpital
01:09:40donc ce jeu
01:09:42cette manière de déconstruire les codes
01:09:44et de jouer avec les stéréotypes
01:09:46il n'est pas attaché qu'à Julia Roberts
01:09:48même si elle le porte de manière
01:09:50assez somptueuse
01:09:52si Richard Gere et Julia Roberts
01:09:54se rencontrent dans la comédie romantique
01:09:56c'est peut-être justement pour ça
01:09:58par rapport à ce jeu
01:10:00autour des stéréotypes
01:10:02et autour de cette apparence
01:10:04qui pourrait les enfermer
01:10:05dans une image
01:10:07et à laquelle ils ne vont cesser
01:10:09de rôle en rôle
01:10:11à ne pas vouloir être réduits
01:10:13parce que Richard Gere
01:10:15quand il arrive dans Pretty Woman
01:10:17il n'est pas vierge cinématographiquement
01:10:19pas du tout
01:10:21il a déjà construit une image
01:10:23qui n'est pas une image de héros
01:10:25mais pour reprendre les mots
01:10:27et je vous laisserai aller voir
01:10:29les mots de Laetitia Masson
01:10:31qui lui a consacré un petit blow-up
01:10:33qui lui dresse son portrait
01:10:35de l'auteur en 1980
01:10:37elle le décrit comme un paumé profiteur
01:10:39dans Looking for Mr. Goodbar
01:10:41de Richard Brooks en 1977
01:10:43et elle parle de la manière
01:10:45dont son charme va aider
01:10:47à construire l'ambiguïté
01:10:49de son personnage particulièrement odieux
01:10:51dans Affaires privées de Mike Figgis en 1990
01:10:53donc toujours déjà
01:10:55des personnages dont la beauté
01:10:57cache une certaine noirceur
01:10:59un cynisme ou un détachement
01:11:01des personnages dans lesquels
01:11:03pourrait complètement s'originer
01:11:05le personnage de Pretty Woman
01:11:07Edward qui est un homme d'affaires
01:11:09qui enchaîne les conquêtes d'un soir
01:11:11et qui rachète à des entrepreneurs
01:11:13leurs entreprises en faillite
01:11:15pour ensuite les démanteler
01:11:17donc on va regarder
01:11:19profitez-en c'est notre dernier extrait
01:11:21on va regarder un extrait
01:11:23de Pretty Woman
01:11:25qui va donner à voir ce jeu
01:11:27autour des stéréotypes
01:11:29entre elle et lui
01:11:31et qui va nous donner à voir
01:11:33comment se construit
01:11:35le génie de Julia Roberts
01:11:37donc c'est notre dernier extrait
01:11:39c'est Pretty Woman
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