{"id":17488,"date":"2018-10-31T08:33:14","date_gmt":"2018-10-31T07:33:14","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=17488"},"modified":"2025-12-04T22:39:24","modified_gmt":"2025-12-04T21:39:24","slug":"le-grand-bain-des-belles-blessures","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/le-grand-bain-des-belles-blessures\/","title":{"rendered":"\u00abDas gro\u00dfe Bad\u00bb der sch\u00f6nen Wunden"},"content":{"rendered":"

Les mercredidis du cin\u00e9ma - Alexandre W\u00e4lti<\/em><\/p>\n

Sieben verlorene Typen und eine gebrochene Frau bauen sich durch den gemeinsamen Traum, an der Weltmeisterschaft im Synchronschwimmen teilzunehmen, wieder auf. Werden sie es schaffen, trotz ihres Lebensmangels? Diese Zusammenfassung des synopsis<\/em> k\u00fcndigt die Originalit\u00e4t des Films von Gilles Lellouche an. Das gro\u00dfe Bad<\/em> ist eine Kom\u00f6die, in der die Beziehung zum K\u00f6rper ebenso wie seelische Verletzungen eine wichtige Rolle spielen. Sie verleihen dem Humor mehr Kraft. Wir w\u00fcrden gerne von einer Ode an die k\u00f6rperliche Missbildung, einem Lob der Andersartigkeit und einer Apologie des Einzigartigen sprechen. Ohne Angst vor diesen gro\u00dfen Worten, da sie genau die Besonderheiten des Films hervorheben.<\/p>\n

<\/p>\n

Le corps dans toute sa splendeur! La phrase, ainsi \u00e9crite, \u00e9voque sans doute dans votre t\u00eate une image de musculature f\u00e9minine ou masculine qui a \u00e9t\u00e9 parfaitement forg\u00e9e par l’effort physique. Si, en plus, l’on parle de natation synchronis\u00e9e, alors les pectoraux et autres abdominaux apparents s’imposent probablement comme une \u00e9vidence. Pourquoi? Parce que l’image de cet id\u00e9al ne date pas d\u2019hier. D\u00e9j\u00e0 les Grecs l\u2019avaient construite et la publicit\u00e9 renforce encore aujourd’hui l’id\u00e9e d’un corps parfait et d’un esprit combatif.<\/p>\n

Sauf que Bertrand (Mathieu Amalric, \u00e9blouissant comme d’habitude), Laurent (Guillaume Canet), Marcus (Beno\u00eet Poelvoorde), Thierry (Phillipe Katerine), Delphine (Virginie Efira) et les autres sont tous autant \u00abrat\u00e9s\u00bb que touchants. Cette bande de caboss\u00e9s de la vie se retrouve sans vraiment savoir pourquoi dans la premi\u00e8re \u00e9quipe masculine et fran\u00e7aise de natation synchronis\u00e9e. C’est toute la force de la com\u00e9die de Lellouche! Prendre le moins sexy<\/em> pour le rendre extr\u00eamement beau et m\u00eame tr\u00e8s dr\u00f4le. Mettre un groupe d’hommes dans un milieu a priori<\/em> f\u00e9minin.<\/p>\n

Le corps est pluriel<\/h3>\n

Les poils et la bedaine sont mis en avant plut\u00f4t que d’\u00eatre dissimul\u00e9s derri\u00e8re la magie du cin\u00e9ma et la perfection que le septi\u00e8me art v\u00e9hicule souvent. Une volont\u00e9 du r\u00e9alisateur de simplement montrer ce que sont physiquement la ribambelle plut\u00f4t impressionnante des acteurs du film. Ce choix esth\u00e9tique souligne une question essentielle: quelle importance a le corps dans une aventure commune qui finalement nous \u00e9l\u00e8ve tous?<\/p>\n

L’identification avec les personnages est simplifi\u00e9e dans la mesure que ces derniers refl\u00e8tent plus honn\u00eatement la r\u00e9alit\u00e9. Les corps ne sont pas tous parfaits et les esprits ont parfois beaucoup souffert. Nous avons tous \u00e9t\u00e9 bless\u00e9s, \u00e0 diff\u00e9rents degr\u00e9s. C’est ce qui fait justement notre beaut\u00e9 intime. Nous avons tous, \u00e0 l’image de Thierry, parfois l’impression de ne pas \u00eatre \u00e9cout\u00e9. Certains, comme Bertrand, souffrent peut-\u00eatre de d\u00e9pression. D’autres, comme Marcus, ont \u00e9chou\u00e9 \u00e0 construire une entreprise \u00e0 plusieurs reprises et sont endett\u00e9s jusqu’au cou. Ceux qui, comme Delphine, sont devenus alcooliques sans s’en rendre compte. Nous avons tous nos failles. Pourquoi ne pas en faire nos forces les plus vivaces?<\/p>\n

Une com\u00e9die troublante<\/h3>\n

Tous les personnages de Lellouche forment d\u00e8s lors une mati\u00e8re premi\u00e8re id\u00e9ale pour une com\u00e9die. Ils permettent effectivement au r\u00e9alisateur fran\u00e7ais de rire des difformit\u00e9s sans oublier les blessures qu’elles peuvent cacher. Il filme par ailleurs les sc\u00e8nes de confessions dans le vestiaire avec une v\u00e9ritable bienveillance et tr\u00e8s pudiquement. Il invite finalement tout le monde \u00e0 mieux assumer tout ce que nous sommes en partageant nos blessures et en les montrant sans g\u00eane.<\/p>\n

Une sc\u00e8ne condense cette impression g\u00e9n\u00e9rale: Laurent pousse dans la piscine la chaise roulante du Coach<\/em> Amanda (Le\u00efla Bekhti), autoritaire et violente, tout le contraire de Delphine, en oubliant qu’elle ne sait plus nager. Toute l’\u00e9quipe se pr\u00e9cipite alors \u00e0 sa rescousse. C’est triste, beau, dr\u00f4le et touchant. C’est un peu comme les derni\u00e8res paroles du Mal de vivre <\/em>de Barbara<\/a>:<\/p>\n

Et sans pr\u00e9venir, \u00e7a arrive
\n\u00c7a vient de loin
\n\u00c7a c’est promen\u00e9 de rive en rive
\nLe rire en coin
\nEt puis un matin, au r\u00e9veil
\nC’est presque rien
\nMais c’est l\u00e0, \u00e7a vous \u00e9merveille
\nAu creux des reins<\/p><\/blockquote>\n

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

Bildnachweis: \u00a9 Frenetic Films<\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

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