{"id":15197,"date":"2018-04-25T12:45:18","date_gmt":"2018-04-25T11:45:18","guid":{"rendered":"http:\/\/leregardlibre.com\/?p=15197"},"modified":"2025-12-04T22:49:25","modified_gmt":"2025-12-04T21:49:25","slug":"the-third-murder","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/the-third-murder\/","title":{"rendered":"\u00abThe Third Murder\u00bb\u00a0"},"content":{"rendered":"

Les mercredis du cin\u00e9ma - H\u00e9l\u00e8ne Lavoyer<\/em><\/p>\n\n\n\n

\u00abJusqu\u2019\u00e0 pr\u00e9sent, je n\u2019avais personne \u00e0 qui en parler. \u00c7a ne peut pas \u00eatre pire.\u00bb<\/p><\/blockquote>\n\n\n\n

Sur les rives du fleuve, \u00e9loign\u00e9s des agitations nocturnes et des regards indiscrets, marchent l\u2019un derri\u00e8re l\u2019autre Misumi (Koji Yakusho) et son ancien employeur. Piano et violoncelle entonnent en crescendo leur litanie, trop douce \u00e0 cet instant o\u00f9, sous les yeux du spectateur, Misumi assassine puis br\u00fble celui qui l\u2019a licenci\u00e9 quelques jours auparavant.<\/p>\n\n\n\n\n\n\n\n

Derri\u00e8re la vitre du parloir o\u00f9 ils retourneront souvent, Ma\u00eetre Shigemori (Masaharu Fukuyama) et ses associ\u00e9s, Daisuke Settsu (Kotaro Yoshida) et Kawashima (Shinnosuke Mitsushima), entendent le t\u00e9moignage incertain de Misumi, qui a d\u00e9j\u00e0 avou\u00e9 le meurtre \u00e0 la police ainsi qu\u2019au procureur. Le retour en arri\u00e8re \u00e9tant strat\u00e9giquement impossible si Shigemori d\u00e9sire \u00e9viter la peine de mort \u00e0 son client, ils d\u00e9cident de plaider coupable.<\/p>\n\n\n\n

Shigemori ne cessera pourtant pas de vouloir att\u00e9nuer la peine; gagner les proc\u00e8s, c\u2019est son travail. Et alors que son enqu\u00eate avance, de nombreuses questions s\u2019immiscent et brouillent les pistes; Misumi lui-m\u00eame semble se consacrer \u00e0 tacher la v\u00e9rit\u00e9 d\u2019oublis et de contradictions, et le t\u00e9moignage de Sakie (Suzu Hirose), fille de la victime, porte encore l\u2019indiff\u00e9rent Ma\u00eetre Shigemori \u00e0 douter de la culpabilit\u00e9 de son client.<\/p>\n\n\n\n

Le myst\u00e8re qui ne se r\u00e9sout jamais<\/h3>\n\n\n\n

Alors que d\u00e9bute le film de Hirokazu Kore-eda (Tel P\u00e8re, Tel Fils<\/em>, 2013) sur cette sc\u00e8ne de meurtre, couverte par la beaut\u00e9 d\u2019une m\u00e9lodie tranquille puis en d\u00e9voilant la dimension judiciaire, difficile de ne pas s\u2019attendre \u00e0 un sc\u00e9nario classique du cin\u00e9ma et des s\u00e9ries occidentales: un meurtre, un coupable, une enqu\u00eate, de po\u00e9tiques plaidoyers et \u00e0 l\u2019issue de tout cela, l\u2019in\u00e9vitable jugement.<\/p>\n\n\n\n

Mais rien, rien de ce que nous pr\u00e9sente le talentueux r\u00e9alisateur ne saute aux yeux. Mieux encore, le myst\u00e8re se dilate au compte-gouttes, et l\u2019unit\u00e9 de la bande-son, des images et des dialogues repousse l\u2019ennui jusqu\u2019\u00e0 son effacement total; un d\u00e9fi de taille pour un film aussi long \u2013 124 minutes.<\/p>\n\n\n\n

Hirokazu Kore-eda est magistral et propose une coh\u00e9rence qu\u2019il construit de la multitude, d\u2019\u00e9l\u00e9ments \u00e0 premi\u00e8re vue h\u00e9t\u00e9roclites. Sans arr\u00eat, il bouscule les attentes et autres sp\u00e9culations du public, notamment gr\u00e2ce \u00e0 une alternance des plans, des paysages, et un relais parfaitement rythm\u00e9 entre les silences et les dialogues ou la musique.<\/p>\n\n\n\n

Une interrogation s\u2019immisce \u00e9galement, et perdure encore, s\u2019approfondit gr\u00e2ce aux \u00e9nigmatiques dialogues dans lesquels nous nous voyons ballot\u00e9s d\u2019une v\u00e9rit\u00e9 \u00e0 l\u2019autre: \u00e0 qui<\/em> revient le droit du jugement? Qui<\/em> est ma\u00eetre de la v\u00e9rit\u00e9, de la Justice? Alors qu\u2019il para\u00eet \u00e9vident que ni l\u2019avocat ni l\u2019accus\u00e9 n\u2019en sont les serviteurs, l\u2019\u00e9volution de l\u2019histoire nous prouve que les justes ne se trouvent pas toujours maillet \u00e0 la main. Au contraire, la conservation de leur r\u00e9putation et des d\u00e9lais compte plus que la v\u00e9rit\u00e9.<\/p>\n\n\n\n

En d\u00e9finitive, l\u2019identit\u00e9 du coupable n\u2019a plus d\u2019importance et le besoin pour nous de lui donner un visage non plus. C\u2019est cette remise en question des institutions judiciaires, des m\u00e9tiers de droit et, surtout, la complexit\u00e9 de la r\u00e9alit\u00e9 due aux multiples regards qu\u2019il est possible de poser sur elle, qui prennent le dessus sur un d\u00e9nouement limpide.<\/p>\n\n\n\n

De la qualit\u00e9 de l\u2019image<\/h3>\n\n\n\n

Nous l\u2019avons dit: la vari\u00e9t\u00e9 des cadres o\u00f9 \u00e9voluent les personnages apporte beaucoup \u00e0 ce film qui aurait sans doute perdu de son attrait s\u2019il n\u2019avait \u00e9t\u00e9 possible de \u00abvivre\u00bb avec eux leur \u00e9volution. Alors que la strat\u00e9gie et l\u2019ambition s\u2019imposent dans le bureau des trois avocats, c\u2019est ce myst\u00e8re toujours plus opaque qui investit les lieux o\u00f9 Ma\u00eetre Shigemori cherche la v\u00e9rit\u00e9.<\/p>\n\n\n\n

Sans jamais user d\u2019effets sp\u00e9ciaux, Hirokazu Kore-eda nous fait suivre les p\u00e9r\u00e9grinations des avocats. Ces derni\u00e8res les entra\u00eeneront notamment dans une vall\u00e9e recul\u00e9e, o\u00f9 ils d\u00e9sirent trouver la fille de Misumi, qu\u2019il n\u2019a pourtant pas revue depuis plus de trente ans. Alors que le train file entre les montagnes enneig\u00e9es, la cam\u00e9ra s\u2019\u00e9l\u00e8ve et offre au regard la beaut\u00e9 de ce paysage glacial et presque inhabit\u00e9.<\/p>\n\n\n\n

Encore dans le cadre blanc de la saison hivernale, une sc\u00e8ne repr\u00e9sentant le souvenir d\u2019une bataille de boules de neige entre Misumi et sa fille \u2013 sc\u00e8ne \u00e0 laquelle Shigemori se voit li\u00e9 de mani\u00e8re inattendue \u2013 expose les silhouettes couch\u00e9es dans l\u2019\u00e9pais tapis blanc depuis le dessus. Ang\u00e9lique.<\/p>\n\n\n\n

Mais les sc\u00e8nes les plus saisissantes, m\u00e9morables et surprenantes surviennent dans le parloir, o\u00f9 l\u2019on voit \u00e0 plusieurs reprise les face-\u00e0-face que se livrent Ma\u00eetre Shigemori et Misumi. Pour ces sc\u00e8nes, la cam\u00e9ra est plac\u00e9e de sorte que les deux personnages soient dans le champ, comme si le spectateur, adoss\u00e9 au mur du parloir, se voyait travers\u00e9 par la vitre.<\/p>\n\n\n\n

Dans ce m\u00eame environnement, le r\u00e9alisateur fait preuve d\u2019une technique et d\u2019une imagination sans faille: lors du dialogue final, les reflets des deux hommes se rencontrent, regardant tous deux dans la m\u00eame direction. \u00c0 l\u2019issue de la sc\u00e8ne, l\u2019impression qu\u2019il ne s\u2019agit plus que d\u2019un seul homme se r\u00e9pondant \u00e0 lui-m\u00eame, par le fondement de plus en plus marqu\u00e9 des deux visages en un seul.<\/p>\n\n\n\n

Prendre le temps<\/h3>\n\n\n\n

Et voici un art que le cin\u00e9ma japonais conduit mieux qu\u2019aucun autre: celui de la lenteur. De par son rythme lent, renforc\u00e9 par la m\u00e9lodie qui cro\u00eet tout aussi subrepticement\u00a0 qu\u2019elle ne dispara\u00eet, ainsi qu\u2019\u00e0 cause des dialogues succincts, l\u2019attention est constamment port\u00e9e sur l\u2019image et l\u2019attente de r\u00e9v\u00e9lations s\u2019accro\u00eet au fur et \u00e0 mesure de la projection. Par ailleurs, l\u2019absence de doublage est un plaisir pour ce genre de films, dans lesquels les personnages parlent, se laissent le temps, se questionnent et s\u2019\u00e9coutent. Par ce rythme lent quoique maintenant toujours en haleine, la langue japonaise est encore sublim\u00e9e.<\/p>\n\n\n\n

Sans h\u00e9sitation, The Third Murder <\/em>se place comme l\u2019un des plus beaux films qu\u2019il nous aura \u00e9t\u00e9 donn\u00e9 de voir. Pour ses images, la technique dont il est compos\u00e9, sa curieuse lenteur, ses dialogues et les caract\u00e8res des personnages incarn\u00e9s ainsi que les relations qu’ils entretiennent. Il s\u2019agit d\u2019un v\u00e9ritable chef-d\u2019\u0153uvre auquel un seul, un infinit\u00e9simal \u00e9pisode, pourrait \u00eatre effac\u00e9. Mais de celui-ci nous ne parlerons pas, de peur que cet \u00e9cart ne compte trop.<\/p>\n\n\n\n

\u00abIl avait raison. Ici personne ne dit la v\u00e9rit\u00e9.\u00bb<\/p><\/blockquote>\n\n\n\n

Schreiben Sie dem Autor: helene.lavoyer@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n

Cr\u00e9dit photo: \u00a9 Cineworx<\/p>","protected":false},"excerpt":{"rendered":"

Les mercredis du cin\u00e9ma \u2013 H\u00e9l\u00e8ne Lavoyer \u00abJusqu\u2019\u00e0 pr\u00e9sent, je n\u2019avais personne \u00e0 qui en parler. \u00c7a ne peut pas…<\/p>","protected":false},"author":326,"featured_media":15198,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[7246849,2714713,29268,615034412,2279973],"class_list":["post-15197","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-cinema-japonais","tag-hirokazu-koreeda","tag-japon","tag-koji-yashuko","tag-masaharu-fukuyama"],"acf":[],"yoast_head":"\n\u00abThe Third Murder\u00bb\u00a0<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/leregardlibre.com\/de\/kino\/filme\/the-third-murder\/\" \/>\n<meta property=\"og:locale\" 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