{"id":32,"date":"2013-05-07T12:19:14","date_gmt":"2013-05-07T11:19:14","guid":{"rendered":"http:\/\/www.cineclubdubelvedere.fr\/?p=32"},"modified":"2013-12-10T18:10:19","modified_gmt":"2013-12-10T17:10:19","slug":"article","status":"publish","type":"post","link":"https:\/\/www.cineclubdubelvedere.fr\/?p=32","title":{"rendered":"Les Amants de la Nuit &#8211; 7 Mai 2013 \u00e0 20:30"},"content":{"rendered":"<h4><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-180\" alt=\"affiche-les-amants-de-la-nuit\" src=\"http:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/affiche-les-amants-de-la-nuit-198x300.jpg\" width=\"198\" height=\"300\" srcset=\"https:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/affiche-les-amants-de-la-nuit-198x300.jpg 198w, https:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/affiche-les-amants-de-la-nuit.jpg 200w\" sizes=\"auto, (max-width: 198px) 100vw, 198px\" \/> Cycle \u00ab\u00a0Films Noirs\u00a0\u00bb<\/h4>\n<p><strong>\u00a0<\/strong><\/p>\n<blockquote><p>USA, 1949 . Titre original \u00ab\u00a0They live by Night\u00a0\u00bb. 95mn<\/p>\n<p>R\u00e9alis\u00e9 par Nicholas Ray, \u00e9crit par Edward Anderson, Nicholas Ray, Charles Schnee<\/p>\n<p>Avec Cathy O&rsquo;Donnell, Farley Granger, Howard Da Silva<\/p><\/blockquote>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; }\n--><\/style>\n<p style=\"text-align: left;\" align=\"CENTER\">Road Movie tendre et poignant de deux \u00ab\u00a0innocents\u00a0\u00bb dans un monde nocturne et violent.<br \/>\nLe premier film de Nicholas Ray<\/p>\n<p><!--more--><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-269\" alt=\"les-amants-de-la-nuit\" src=\"http:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/les-amants-de-la-nuit.jpg\" width=\"600\" height=\"411\" srcset=\"https:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/les-amants-de-la-nuit.jpg 600w, https:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/les-amants-de-la-nuit-300x205.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; }\n--><\/style>\n<p><span style=\"color: #ffffff;\"><span style=\"font-family: Arial,serif;\"><span style=\"font-size: small;\">Trois<\/span><\/span><span style=\"font-family: Arial,serif;\"><span style=\"font-size: small;\">\u00a0<\/span><\/span><span style=\"font-family: Arial,serif;\"><span style=\"font-size: small;\">gangsters viennent de s\u2019\u00e9chapper de prison : Chicamaw (Howard Da Silva), T Dub (Jay C. Flippen ) et Bowie (Farley Granger) se r\u00e9fugient chez Mobley le fr\u00e8re de Chicamaw. Bowie y rencontre Keechie (Cathy O\u2019Donnell), la fille de Mobley, dont il tombe amoureux. Mais les trois hommes ne peuvent rester inactifs. Ils organisent un hold-up qui se solde par un succ\u00e8s. Bowie d\u00e9cide d\u2019utiliser l\u2019argent qu\u2019il a gagn\u00e9 pour fuir avec Keechie. Le couple vit alors quelques jours de bonheur dans un bungalow mais Chicamaw, en soif d\u2019action, les retrouve et force Bowie \u00e0 organiser un nouveau coup&#8230;<\/span><\/span><\/span><\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; }\n--><\/style>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">\u00ab\u00a0\u00a0Le plus bressonien des films am\u00e9ricains\u00a0\u00bb\u00a0\u00a0 (Jean-Luc Godard)<\/span><\/span><\/p>\n<p align=\"JUSTIFY\">\u00a0<span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">En 1949, la vision des <\/span><span style=\"font-size: medium;\"><i>Amants de la Nuit<\/i><\/span><span style=\"font-size: medium;\"> a repr\u00e9sent\u00e9 le premier choc de ce que devenait le cin\u00e9ma am\u00e9ricain. Le cin\u00e9ma classique foutait le camp, c\u2019est un nouveau cin\u00e9ma qui naissait. A partir de l\u00e0, c\u2019est devenu un de nos deux p\u00f4les avec Rossellini\u00a0: Ray, c\u2019\u00e9tait le sentiment qui venait un peu compenser l\u2019intelligence de Rossellini.\u00a0<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">Jean Douchet, pr\u00e9face de <\/span><span style=\"font-size: medium;\"><b>Roman Am\u00e9ricain<\/b><\/span><span style=\"font-size: medium;\"> de Bernard Eisenschiltz <\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">L\u2019aboutissement de ce principe d\u2019utilisation de l\u2019espace off \u00e9rig\u00e9 en v\u00e9ritable syst\u00e8me esth\u00e9tique, fut le premier et meilleur film de Nicholas Ray, <\/span><span style=\"font-size: medium;\"><i>Les Amants de la Nuit<\/i><\/span><span style=\"font-size: medium;\">. Dans ce film de gangsters, tout ce qui \u00e9tait violence se passait hors champ ou \u00e9tait \u00ab\u00a0\u00e9lid\u00e9\u00a0\u00bb, ce qui cr\u00e9ait ind\u00e9niablement un ton de \u00ab\u00a0pudeur intense\u00a0\u00bb tr\u00e8s particulier.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">No\u00ebl Burch, <\/span><span style=\"font-size: medium;\"><b>Une Praxis de Cin\u00e9ma<\/b><\/span><span style=\"font-size: medium;\">, Folio 1986<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\"><i>Les Amants de la Nuit<\/i><\/span><span style=\"font-size: medium;\"> est un film dont on se remet difficilement, un film fr\u00e9missant qui a exceptionnellement bien vieilli \u2026 <\/span><span style=\"font-size: medium;\"><i>Les Amants de la Nuit<\/i><\/span><span style=\"font-size: medium;\"> part d\u2019une structure de film noir classique pour jouer avec le genre et en donner une interpr\u00e9tation compl\u00e9tement originale \u2026 Avec <\/span><span style=\"font-size: medium;\"><i>Les Amants de la Nuit<\/i><\/span><span style=\"font-size: medium;\"> Ray jette les bases d\u2019un style original que l\u2019on qualifiera bien souvent de baroque, mais qui a plus \u00e0 voir avec un lyrisme f\u00e9brile et sans rh\u00e9toriques.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">C. Musitelli, <\/span><span style=\"font-size: medium;\"><b>Les Inrocks<\/b><\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\"><i>Les Amants de la Nuit<\/i><\/span><span style=\"font-size: medium;\"> est sans doute le plus beau film o\u00f9 l\u2019on voit un couple maudit. Son auteur Nicholas Ray a l\u2019art de d\u00e9caler le naturalisme en pulsions douloureuses et en crises f\u00e9briles. D\u00e8s ce premier film, il entre en osmose avec cette attitude qui est le sceau du <\/span><span style=\"font-size: medium;\"><i>film noir<\/i><\/span><span style=\"font-size: medium;\">, mais impose son style et son univers \u00e0 ce th\u00e8me de l\u2019\u00e9vad\u00e9 incapable de r\u00e9int\u00e9grer la soci\u00e9t\u00e9\u2026Ce couple en fuite n\u2019est pas un pr\u00e9texte \u00e0 suspense o\u00f9 \u00e0 exploration de n\u00e9vroses malheureuses. La sensibilit\u00e9 \u00e0 fleur de peau de Ray en fait un po\u00e8me tragique sur l\u2019amour fou et la tendresse.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">No\u00ebl Simsolo, <\/span><span style=\"font-size: medium;\"><b>Le Film Noir, vrais et faux cauchemars<\/b><\/span><span style=\"font-size: medium;\">, Cahiers du Cin\u00e9ma, 2005<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: large;\"><b><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-270\" alt=\"ray-nicholas\" src=\"http:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/ray-nicholas.jpg\" width=\"300\" height=\"404\" srcset=\"https:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/ray-nicholas.jpg 300w, https:\/\/www.cineclubdubelvedere.fr\/wp-content\/uploads\/2013\/03\/ray-nicholas-222x300.jpg 222w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>Nicholas Ray (1911-1979)<\/b><\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">A l\u2019\u00e2ge d\u2019or de la cin\u00e9philie parisienne, dans cet antichambre de la Nouvelle Vague appel\u00e9e <\/span><span style=\"font-size: medium;\"><i>Cahiers du Cin\u00e9ma<\/i><\/span><span style=\"font-size: medium;\">, Nicholas Ray \u00e9tait l\u2019objet d\u2019un culte\u00a0; comme Samuel Fuller ou Richard Brooks, Ray repr\u00e9sentait tout le possible du cin\u00e9ma alors inaccessible \u00e0 une production fran\u00e7aise fig\u00e9e dans l\u2019acad\u00e9misme.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">Fr\u00e9d\u00e9ric Bas, <\/span><span style=\"font-size: medium;\"><b>Chronic\u2019Art<\/b><\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">Plus que son style, reconnaissable entre mille mais presque aussi difficile \u00e0 d\u00e9crire que celui de Losey premi\u00e8re mani\u00e8re, c\u2019est la constance de certaines pr\u00e9occupations morales, d\u2019une certaine attitude devant la vie, qui permet d\u2019aborder de mani\u00e8re synth\u00e9tique l\u2019un des auteurs les plus importants de la g\u00e9n\u00e9ration d\u2019apr\u00e8s-guerre. Chez tous ses h\u00e9ros on d\u00e9couvre un trait commun\u00a0: la recherche angoiss\u00e9e d\u2019une raison d\u2019\u00eatre, d\u2019un sens \u00e0 la vie. Cette r\u00e9ponse \u00e0 leurs probl\u00e8mes souvent inconscients, ils pensent la trouver dans la violence qui lib\u00e8re ou donne l\u2019illusion de l\u2019existence.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">Bertrand Tavernier, <\/span><span style=\"font-size: medium;\"><b>50 ans de Cin\u00e9ma Am\u00e9ricain<\/b><\/span><span style=\"font-size: medium;\">, Nathan 1991<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">Interview\u00e9 en 1957 par <\/span><span style=\"font-size: medium;\"><i>Les Cahiers du Cin\u00e9ma<\/i><\/span><span style=\"font-size: medium;\">, Nicholas Ray expliquait que son \u00ab\u00a0label\u00a0\u00bb personnel avait toujours \u00e9t\u00e9 \u00ab\u00a0je suis un \u00e9tranger ici-bas\u00a0\u00bb, et il ajoutait \u00ab\u00a0La qu\u00eate d\u2019une vie remplie est \u2013 paradoxalement \u2013solitaire. Je crois que la solitude est tr\u00e8s importante pour l\u2019homme, aussi longtemps qu\u2019elle ne lui nuit pas\u00a0\u00bb. Ce destin se r\u00e9alisera au-del\u00e0 de toute esp\u00e9rance.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\">\u00a0<span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">Il y a une Am\u00e9rique du cin\u00e9ma, celle de Fritz Lang qui recr\u00e9e l\u2019espace \u00e0 partir de sa vision expressionniste europ\u00e9enne, et un cin\u00e9ma de l\u2019Am\u00e9rique, celui de Nicholas Ray qui montre le pays tel qu\u2019il est.<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\">No\u00ebl Burch<\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\"><b>Films principaux\u00a0<\/b><\/span><span style=\"font-size: medium;\"><i>: <\/i><\/span><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-family: Helvetica,sans-serif;\"><span style=\"font-size: medium;\"><i>Johny Guitar <\/i><\/span><span style=\"font-size: medium;\">I954 <\/span><span style=\"font-size: medium;\"><i>A l\u2019ombre des Potences<\/i><\/span><span style=\"font-size: medium;\"> (<\/span><span style=\"font-size: medium;\"><i>The hanging Tree<\/i><\/span><span style=\"font-size: medium;\">) 1955 <\/span><span style=\"font-size: medium;\"><i>La Fureur de Vivre (Rebel without a cause)<\/i><\/span><span style=\"font-size: medium;\"> 1955 <\/span><span style=\"font-size: medium;\"><i>Le Brigand Bien Aim\u00e9 (The True story of Jesse James) <\/i><\/span><span style=\"font-size: medium;\">1957 <\/span><span style=\"font-size: medium;\"><i>La For\u00eat Interdite<\/i><\/span><span style=\"font-size: medium;\"> 1958<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cycle \u00ab\u00a0Films Noirs\u00a0\u00bb \u00a0 USA, 1949 . Titre original \u00ab\u00a0They live by Night\u00a0\u00bb. 95mn R\u00e9alis\u00e9 par Nicholas Ray, \u00e9crit par Edward Anderson, Nicholas Ray, Charles Schnee Avec Cathy O&rsquo;Donnell, Farley Granger, Howard Da Silva Road Movie tendre et poignant de deux \u00ab\u00a0innocents\u00a0\u00bb dans un monde nocturne et violent. Le premier film de Nicholas Ray<\/p>\n","protected":false},"author":1,"featured_media":181,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-32","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archives"],"_links":{"self":[{"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/posts\/32","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=32"}],"version-history":[{"count":20,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/posts\/32\/revisions"}],"predecessor-version":[{"id":641,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/posts\/32\/revisions\/641"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=\/wp\/v2\/media\/181"}],"wp:attachment":[{"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=32"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cineclubdubelvedere.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=32"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}