Jarmusch’s “My Brother” and the Art of Screen Dialogue
Le dialog : c’est une petite obsession que je partage avec sans doute beaucoup de gens – j’ai d’ailleurs reçu la semaine dernière un courrier d’auditeur, au demeurant très sympathique, qui partageait sa perplexité quant à la pauvreté récurrente des dialogues dans le cinéma français, en comparaison avec le cinéma anglo-saxon en l’occurrence : comme si nous ne parvenions pas à écrire le parlé, comme si la fiction abolissait la possibilité du naturel. Ce en quoi je suis souvent assez d’accord, et je me fais aussi la remarque à propos des séries, et des livres : en contexte réaliste, ou naturaliste – paradoxalement c’est le grand dada des français – les dialogues sont bien souvent pauvres, dénués de spontanéité, ou encore très didactiques – en bref souvent je peste devant mon livre ou mon écran – mais enfin personne ne parle comme ça. J’ai poursuivi ma réflexion ce weekend au cinéma, devant deux films qui n’ont pas grand chose apparemment à voir, Father Mother Sister Brother de Jim Jarmusch et Ma Frère de Lise Akoka et Romane Guéret. Deux films bavards dont l’intérêt repose largement sur l’écriture des dialogues.
Le film de Jim Jarmusch se divise en trois parties, et met en scène, comme son titre l’indique, trois rencontres familiales. dans la première un frère et sa soeur vont rendre une visite qu’on devine rare à leur père qui vit au bord d’un lac,un père qu’ils évoquent comme quelqu’un d’isolé et possiblement nécessiteux,et qui a pris soin avant leur arrivée de mettre un peu de bazar dans le salon,et de recouvrir son canapé design d’un vieux plaid. Dans la deuxième ce sont deux filles très différentes qui viennent prendre le thé chez une grande bourgeoise de Dublin. Dans le troisième, qui se passe à Paris, deux jumeaux visitent pour la dernière fois l’appartement de leurs parents récemment décédés dans un accident d’av
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