Jean-Jacques Sadoux<\/p>\n
<\/p>\n
Quelques remarques sur le symbolisme des couleurs dans\u00a0 Shane\u00a0\u00a0 (L\u2019homme des vall\u00e9es perdues <\/i>de George Stevens, 1952 et le roman \u00e9ponyme de Jack Schaefer.<\/b><\/p>\n
\u00a0<\/b><\/p>\n
Publi\u00e9 pour la premi\u00e8re fois en 1949 Shane<\/i> s\u2019inscrit dans une tradition litt\u00e9raire dont l\u2019origine remonte au Virginian<\/i> (1902) d\u2019Owen Wister, ainsi qu\u2019\u00e0 l\u2019\u0153uvre prolifique de Zane Grey.<\/p>\n
particuli\u00e8rement la pr\u00e9sentation du h\u00e9ros solitaire surgissant un beau matin dans une vall\u00e9e perdue du Wyoming, entr\u00e9e fortement connot\u00e9e par le symbolisme des couleurs\u00a0: C\u2019est en effet la dominante sombre des v\u00eatements de l\u2019inconnu qui retient l\u2019attention du jeune narrateur lorsque le cavalier se profile \u00e0 l\u2019horizon et se rapproche de la ferme paternelle\u00a0:<\/p>\n
\u00ab\u00a0As he came nearer, what impressed me first was his clothes. He wore dark trousers \u2026 a coat of the same dark material \u2026 his shirt was \u2026 rich brown in color \u2026 his handkerchief knotted loosely around his neck was black silk \u2026 his hat was not the familiar Stetson, not the familiar gray or muddy tan. It was plain black, soft in in texture, unlike any hat I had ever seen \u2026 taking a comb from his pocket, he combed his long dark hair.\u201d <\/i>(1)<\/p>\n
Traduite \u00e0 l\u2019\u00e9cran l\u2019arriv\u00e9e de Shane dans L\u2019homme des vall\u00e9es perdues <\/i>joue aussi sur le symbolisme des couleurs, mais dans un registre enti\u00e8rement diff\u00e9rent. Alan Ladd dans le film de George Stevens est v\u00eatu de couleurs claires s\u2019harmonisant \u00e0 la blondeur de ses cheveux et \u00e0 la clart\u00e9 de son teint. Beaucoup de commentateurs ont d\u2019ailleurs parl\u00e9 d\u2019un cavalier tout de blanc v\u00eatu ce que soulignent George Albert Astre et Albert Patrick Hoarau lorsqu\u2019ils \u00e9crivent\u00a0: \u00ab\u00a0 Contrairement \u00e0 une id\u00e9e tr\u00e8s r\u00e9pandue, Alan Ladd n\u2019\u00e9tait pas habill\u00e9 de blanc mais d\u2019ocre clair, ce qui traduisait bien le caract\u00e8re ambigu du personnage.\u00a0\u00bb ((2))<\/p>\n
Le personnage de Shane \u00e9tant tout aussi ambigu dans le roman de Schaefer, on peut tout de m\u00eame s\u2019interroger sur cette inversion totale de l\u2019utilisation des couleurs dans la traduction cin\u00e9matographique.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/b>Dans son \u00e9tude sur la narration hollywoodienne classique, (3) c\u2019est-\u00e0-dire couvrant la<\/b> p\u00e9riode 1917-1960, David Bordwell fait remarquer\u00a0:<\/p>\n
Although the cinema inherits many conventions of portrayals from theater and literature, the character types of melodrama and popular fiction get fleshed out by the addition of unique motifs, habits, or behavioral tics. In parallel fashion, the star system has one of its functions the creation of a rough character prototype for each star which is then adjusted to the particular needs of the role.\u201d <\/i>(Narration in the Fiction Film, page 157)<\/p>\n
Cette importance du star system dans le choix et l\u2019utilisation de l\u2019acteur pour un r\u00f4le sp\u00e9cifique, avait d\u00e9j\u00e0 \u00e9t\u00e9 soulign\u00e9e par \u00a0Molly Haskell. (4)\u00a0:<\/p>\n
The personality of the star, the mere fact of being a star was as important as the role they played, and affected the very conception of those roles.<\/i><\/p>\n
Pour en revenir au personnage de Shane interpr\u00e9t\u00e9 par Alan Ladd et l\u2019\u00e9tonnante inversion du code des couleurs on trouve un commentaire tr\u00e8s \u00e9clairant dans l\u2019article\u00a0 de Robert Warshow The Westerner<\/i><\/b> <\/i>( 5)\u00a0:<\/p>\n
\u201cThe choice of Alan Ladd to play the leading role is alone an indication of this film\u2019s tendency \u2026 Ladd is a more \u201caesthetic object,\u201d with some of the \u201cuniversality\u201d of a piece of sculpture: his special quality is in his physical smoothness and serenity, unworldly and yet not innocent, but suggesting that no experience can really touch him.\u201d<\/i><\/p>\n
Mais c\u2019est peut \u00eatre Patrick Brion qui apporte l\u2019information la plus int\u00e9ressante dans la notice qu\u2019il consacre \u00e0 Alan Ladd dans l\u2019ouvrage collectif sur le Western publi\u00e9 par l\u2019Union G\u00e9n\u00e9rale d\u2019Editions (6)\u00a0:<\/p>\n
\u00ab\u00a0Avec lui et sa br\u00e8ve carri\u00e8re disparait le dernier repr\u00e9sentant d\u2019une esth\u00e9tique qui faisait du h\u00e9ros westernien un \u00eatre prompt \u00e0 la bagarre, mais totalement incolore.\u00a0\u00bb <\/i>(page 306)<\/i><\/p>\n
Ce caract\u00e8re \u00ab\u00a0incolore\u00a0\u00bb d\u2019Alan Ladd appelait tout naturellement les couleurs claires et d\u00e9lav\u00e9es et excluait les teintes sombres qui impressionnaient tant le jeune gar\u00e7on au d\u00e9but du roman. (7)<\/b><\/p>\n
<\/p>\n
(1)) On retrouve une sc\u00e8ne analogue dans Riders of the Purple Sage<\/i> \u20181912) de Zane Grey o\u00f9 l\u2019arriv\u00e9e de Lassiter (\u00ab\u00a0 A gunman with a reputation as black as his clothes\u00a0\u00bb nous pr\u00e9cise la pr\u00e9sentation au dos de l\u2019\u00e9dition en livre de poche) annonce celle de Shane quelques d\u00e9cennies plus tard\u00a0: -\u00ab\u00a0A strange rider\u00a0!<\/p>\n
-Huh\u00a0! he wears black leather<\/p>\n
He packs two black-butted guns-low down- they\u2019re hard to see- black agin them black chaps\u201d\u2026\u201dThe wide brim hat of a sombrero casts a dark shade over his face.\u201d<\/p>\n
(2) Univers du Western<\/i> , Cin\u00e9ma Club Seghers, Paris, 1973, page 262<\/p>\n
(3) \u00a0\u00a0\u00a0\u00a0\u00a0Narration in the Fiction Film,<\/i> Methuen, 1987<\/p>\n
(4) <\/i>From reference to Rape<\/i>, 1974, revised and reissued by University of Chicago Press, 1987<\/p>\n
(5) <\/i>Article repris\u00a0 dans l\u2019ouvrage Film Theory and criticism<\/i>, Oxford University Press, New York 1974 Page 446<\/p>\n
(6) <\/i>Le Western<\/i>, Union G\u00e9n\u00e9rale d\u2019Editions, 1966<\/p>\n
(7) <\/i>Le Dictionnaire des Symboles<\/i> nous pr\u00e9cise que\u00a0: \u00ab\u00a0Le blanc peut se situer aux deux extr\u00e9mit\u00e9s de la gamme chromatique absolu et n\u2019ayant d\u2019autres variations que celles qui vont de la mati\u00e8re \u00e0 la brillance, il signifie tant\u00f4t l\u2019absence, tant\u00f4t la somme des couleurs.\u00a0\u00bb<\/p>\n
\u00a0<\/b><\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0Jean-Jacques Sadoux<\/b><\/p>\n
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