{"id":17557,"date":"2018-11-07T08:00:14","date_gmt":"2018-11-07T07:00:14","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=17557"},"modified":"2025-12-04T22:39:17","modified_gmt":"2025-12-04T21:39:17","slug":"silvio-et-les-autres-lart-du-faux","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/silvio-et-les-autres-lart-du-faux\/","title":{"rendered":"\u00abSilvio und die anderen\u00bb - die Kunst der F\u00e4lschung"},"content":{"rendered":"

Les mercredis du cin\u00e9ma - Thierry Fivaz<\/span><\/i><\/p>\n

Mit <\/span>Silvio und die anderen<\/i><\/span>, Paolo Sorrentino liefert uns einen reichhaltigen und besonders verwirrenden Film. Und wie bei vielen seiner Filme wird es wahrscheinlich mehrere Sichtungen brauchen, um dieses seltsame Objekt, das uns der italienische Regisseur wieder einmal pr\u00e4sentiert, in seiner ganzen Tragweite zu begreifen und zu verdauen.<\/span><\/strong><\/p>\n

<\/p>\n

Exercice difficile que de dire en quelques mots en quoi consiste le dernier film de Paolo Sorrentino. Comme souvent avec le cin\u00e9aste italien, le film est compos\u00e9 de multiples <\/span>tableaux<\/i><\/span>, qu\u2019on peine parfois \u00e0 lier les uns aux autres \u2013 une des raisons pour laquelle plusieurs visionnages s\u2019av\u00e8rent sans doute n\u00e9cessaires.<\/span><\/p>\n

Pour faire simple, nous pouvons dire que le film raconte l\u2019histoire d\u2019un couple originaire des Pouilles qui n\u2019a qu\u2019un seul d\u00e9sir: rentrer en contact avec <\/span>Lui<\/i><\/span>. <\/span>Lui<\/i><\/span>, c\u2019est bien s\u00fbr Silvio Berlusconi (incarn\u00e9 par un magnifique Toni Servillo). Un Berlusconi qui vient d\u2019\u00eatre battu aux \u00e9lections de 2006 et qui, quelque peu d\u00e9s\u0153uvr\u00e9, tente de reconqu\u00e9rir sa femme Veronica (Elena Sofia Ricci) tout en profitant de passer du bon temps en charmante compagnie. Une situation paradoxale et contradictoire au possible.<\/span><\/p>\n

Mais qu\u2019\u00e0 cela ne tienne, comme l\u2019indique le titre original (ndlr:\u00a0<\/span>Loro<\/i><\/span>, soit\u00a0\u00abeux\u00bb en italien), le film se concentre principalement sur les courtisans du <\/span>Cavaliere<\/em><\/span>\u00a0-\u00a0<\/i><\/span>qui n\u2019appara\u00eetra d\u2019ailleurs que vers la quaranti\u00e8me minute. Des courtisans qui s\u2019\u00e9chinent \u00e0 \u00eatre bien vus par le flamboyant Silvio. Quant au couple d\u2019ambitieux, leur id\u00e9e est simple: louer une villa voisine de celle de Berlusconi, la remplir de jeunes femmes et attendre que le pr\u00e9dateur pointe le bout de son nez.<\/span><\/p>\n

Comme \u00e0 son habitude, l\u2019image est particuli\u00e8rement l\u00e9ch\u00e9e (presque excessivement travaill\u00e9e parfois). Ponctu\u00e9 de nombreux plans fixes, le film offre certaines sc\u00e8nes d\u2019une magistrale beaut\u00e9, comme la\u00a0<\/span>D\u00e9position du Christ <\/i><\/span>de la sc\u00e8ne finale. Et si l\u2019usage de longs Kamerafahrten<\/em> se fait plus rare et moins virevoltant, la patte est l\u00e0. Impossible de se tromper, c\u2019est bien du Sorrentino.<\/span><\/p>\n

L\u2019agneau (de) Silvio<\/span><\/b><\/h3>\n

Plant\u00e9e au plein milieu du jardin d\u2019une luxueuse propri\u00e9t\u00e9 (sous-entendu celle de Berlusconi), une jeune brebis avance prudemment. La b\u00eate semble attir\u00e9e par quelque chose. Arrivant sur l\u2019immense terrasse de la maison, elle semble h\u00e9siter, puis finalement, entre dans le salon. Devant elle: un immense \u00e9cran de t\u00e9l\u00e9vision qui diffuse une \u00e9mission typiquement italienne. Captiv\u00e9e par cette\u00a0<\/span>televisione spazzatura <\/i><\/span>(Anm. d. \u00dcbers: <\/span>t\u00e9l\u00e9poubelle<\/i><\/span>), la brebis ouvre de grands yeux, puis, sans crier gare, s\u2019\u00e9croule raide morte.<\/span><\/p>\n

Cette sc\u00e8ne d\u2019ouverture se fait intrigante et donne le ton. Comme il l\u2019avait d\u00e9j\u00e0 fait dans <\/span>La grande Bellezza,\u00a0<\/i><\/span>o\u00f9 un ami de Jep faisait dispara\u00eetre une girafe, Sorrentino s\u2019amuse encore une fois avec la repr\u00e9sentation de l\u2019animal. Si, \u00e9videmment, la sc\u00e8ne peut ici rev\u00eatir une dimension all\u00e9gorique lourde de sens \u2013 tondus comme des moutons, les Italiens s\u2019abrutissent comme des b\u00eates devant la t\u00e9l\u00e9vision <\/span>cr\u00e9\u00e9e<\/i><\/span> par le m\u00eame homme qui les tond, et vont jusqu\u2019\u00e0 en crever\u00a0\u2013 cette brebis en images de synth\u00e8se d\u00e9tonne \u00e9galement. Sonne faux. Allant jusqu\u2019\u00e0 flouer et m\u00eame ridiculiser le message qu\u2019elle v\u00e9hicule. On vient alors \u00e0 se demander si, finalement, l\u2019all\u00e9gorie ne serait pas du pipeau. Construite de toute pi\u00e8ce comme l\u2019est \u00e9galement la fameuse brebis. Mais qu\u2019a donc bien voulu exprimer par l\u00e0 l\u2019\u00e9nigmatique Sorrentino? Est-il s\u00e9rieux? Ou l\u2019ambigu\u00eft\u00e9 du message viendrait simplement du fait que tourner avec une vraie brebis \u00e9tait vraiment peu pratique?<\/span><\/p>\n

L\u00e0 est toute la subtilit\u00e9 du cin\u00e9ma de Sorrentino. C\u2019est qu\u2019en plus de traiter de th\u00e9matiques italiennes (<\/span>Le conseguenze dell’amore<\/i><\/span>,\u00a0<\/span>Il Divo<\/i><\/span>,\u00a0<\/span>La grande Bellezza<\/i><\/span>), les films du cin\u00e9aste doivent s\u2019envisager \u00e9galement sous une lumi\u00e8re italienne. Et cela d\u00e9passe l\u2019esth\u00e9tique l\u00e9ch\u00e9e, les r\u00e9f\u00e9rences innombrables \u00e0 Fellini ou aux tr\u00e9sors historiques et artistiques du pays. Car il s\u2019agit surtout d\u2019un \u00e9tat d\u2019esprit, d\u2019un humour particulier. Un humour \u00e0 la fois grave et d\u00e9tach\u00e9 et dont on ne sait jamais si ce qui est \u00e9nonc\u00e9 est s\u00e9rieux ou non \u2013 et, qu\u2019\u00e0 voir, de nombreux critiques francophones peinent \u00e0 comprendre.<\/span><\/p>\n

Ainsi va\u00a0<\/span>Silvio et les autres. <\/i><\/span>Oscillant perp\u00e9tuellement entre le <\/span>wahr<\/i><\/span> und der <\/span>falsch<\/i><\/span>, le pu\u00e9ril et le s\u00e9rieux, le beau et le kitch, le noble et le vulgaire. Non documentaire, le film de Sorrentino est la repr\u00e9sentation d\u2019une r\u00e9alit\u00e9 fantasm\u00e9e. Dans lequel, grim\u00e9 en Berlusconi, un Toni Servillo ressemble \u00e0 un clown.\u00a0Incarnant un personnage qui, lui aussi, oscille, entre le ridicule et le touchant, le superficiel et l\u2019authentique. Rien n\u2019est vrai, mais pourtant, tout sonne si juste.<\/span><\/p>\n

Ceux qui s\u2019attendaient donc \u00e0 un portrait \u00e0 charge seront d\u00e9\u00e7us, car ce n\u2019est pas ce que propose Sorrentino. L\u2019exercice est ici plus subtil. Le r\u00e9alisateur dresse le portrait d\u2019un homme qui craint l\u2019ennui, nie la mort, et qui par son incroyable vitalit\u00e9, tente envers et contre tous de vivre comme s\u2019il avait encore trente ans. Le ridicule de la situation vient du fait que cet homme est un\u00a0septuag\u00e9naire. Que cet amateur de jeunes femmes pourrait \u00eatre leur grand-p\u00e8re. Que son optimisme n\u2019est en fait que d\u00e9ni. Et on en vient \u00e0 se demander comment un tel personnage en est venu \u00e0 occuper de telles fonctions.<\/span><\/p>\n

L\u00e0 est toute la question;\u00a0<\/span>Sorrentino donne une \u00e9bauche de r\u00e9ponse. Dans une sc\u00e8ne, on voit un Berlusconi piocher au hasard dans l\u2019annuaire un num\u00e9ro de t\u00e9l\u00e9phone, le politicien compose le num\u00e9ro et se fixe alors comme objectif de vendre un appartement \u2013 qui n\u2019existe pas \u2013\u00a0\u00e0 la personne qui a eu le malheur de d\u00e9crocher. Et alors, soudainement, l’artiste rentre en sc\u00e8ne. La b\u00eate se r\u00e9veille. Le vendeur est \u00e0 l\u2019\u0153uvre. Un vendeur de quoi? Un vendeur de r\u00eave bien s\u00fbr. Ainsi est le Berlusconi de\u00a0<\/span>Silvio und die anderen<\/i><\/span>, dr\u00f4le de personnage. Mais est-ce si loin de la r\u00e9alit\u00e9?<\/span><\/p>\n

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

Fotocredit: \u00a9 Path\u00e9 Films<\/p>","protected":false},"excerpt":{"rendered":"

Les mercredis du cin\u00e9ma \u2013 Thierry Fivaz Avec Silvio et les autres, Paolo Sorrentino nous livre un film riche et…<\/p>","protected":false},"author":341,"featured_media":17558,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[399466,346697,644340261,644340262,644340250,644340251,644340252,644340249,459,644340253,644339263],"class_list":["post-17557","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-cinema-italien","tag-clown","tag-elena-sofia-ricci","tag-faux","tag-loro","tag-paolo-sorrentino","tag-silvio-berlusconi","tag-silvio-et-les-autres","tag-television","tag-toni-servillo","tag-vrai"],"acf":[],"yoast_head":"\n\u00abSilvio et les autres\u00bb, l\u2019art du faux<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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