{"id":18348,"date":"2018-12-19T19:00:57","date_gmt":"2018-12-19T18:00:57","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=18348"},"modified":"2025-12-04T22:38:52","modified_gmt":"2025-12-04T21:38:52","slug":"remi-ohne-familie-und-genie","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/cinema\/films\/remi-sans-famille-ni-genie\/","title":{"rendered":"\u00abRemi ohne Familie\u00bb noch Genie"},"content":{"rendered":"

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

Antoine Blossier liefert eine blasse Kopie der Choristen<\/em> de Christophe Barratier. L’histoire de l’orphelin existe au moins depuis le XVII.<\/sup> Jahrhundert und der Niederschrift m\u00fcndlich \u00fcberlieferter M\u00e4rchen durch Charles Perrault. Denken wir an das Kleiner D\u00e4umling<\/em>. Autrement dit, si l’on met en images ce lieu commun, alors il faut le faire avec des yeux nouveaux et de mani\u00e8re innovante. R\u00e9mi ohne Familie <\/em>est m\u00eame trop mal r\u00e9alis\u00e9 pour n’\u00eatre juste qu’un beau et touchant film de fin d’ann\u00e9e.<\/p>\n\n\n\n\n\n\n\n

Je ne peux pas introduire diff\u00e9remment cet article autant mal \u00e0 l’art que cela me fasse. Les premi\u00e8res sc\u00e8nes du film montrent d\u00e9j\u00e0 des manquements presque terrifiants dans la direction d’acteurs. Je n’ai cru \u00e0 aucune \u00e9motion des protagonistes. Une impression qui m’a ensuite accompagn\u00e9 durant toute la projection. C’\u00e9tait comme Dallas, <\/em>mais dans une famille campagnarde et en suivant deux vagabonds d’un \u00e9pisode \u00e0 l’autre.<\/p>\n\n\n\n

Nur ein oder zwei Geistesblitze
<\/h3>\n\n\n\n

Certes, Maleaume Paquin irradie l’\u00e9cran. Voil\u00e0 qui est certain, mais c’est tout et ce n’est pas assez. Evidemment que les repr\u00e9sentations et la bienveillance du saltimbanque Vitalis (Daniel Auteuil) proposent leur lot d’\u00e9merveillements. Cependant, l’ensemble ressemble trop \u00e0 la succession suivante: joie, deuil, tristesse, joie, deuil, tristesse; et ceci jusqu’\u00e0 la fin. Peut-\u00eatre l’effet film de fin d’ann\u00e9e.
<\/p>\n\n\n\n

Le probl\u00e8me principal? Les relations compliqu\u00e9es de l’enfant avec ceux qu’il aime ne prennent pas. Et donc, comme une grande partie de la trame du film d\u00e9pend de la recherche identitaire du petit R\u00e9mi (Maleaume Paquin), je n’ai pas pu m’identifier \u00e0 son \u00e2me ni \u00e0 l’attachement qu’il a pour ceux qui l’entourent. Je n’ai ressenti aucun sentiment de l’enfant ni des autres personnages. Tout est dit! Le film est fade.<\/p>\n\n\n\n

Wiederholen, was bereits getan wurde
<\/h3>\n\n\n\n

Une question s’impose \u00e0 pr\u00e9sent pour basculer vers une analyse \u00e0 peine moins subjective et proposer peut-\u00eatre une r\u00e9flexion plus large: \u00e0 quoi bon reprendre l’histoire d’un orphelin, d\u00e9j\u00e0 \u00e9crite de surcro\u00eet, et faire comme ce qui a d\u00e9j\u00e0 \u00e9t\u00e9 fait et refait jusqu’\u00e0 pr\u00e9sent?<\/p>\n\n\n\n

Le cin\u00e9ma doit \u00e9voluer. C’est d’autant plus capital lorsqu’un r\u00e9alisateur reprend \u00e9tape par \u00e9tape les codes d’un certain genre de film. Quand en plus l’histoire initiale, inspir\u00e9e du roman Ohne Familie<\/em> d’Hector Malot, a d\u00e9j\u00e0 \u00e9t\u00e9 adapt\u00e9e au petit \u00e9cran au Japon comme en France. Bref, si l’on am\u00e8ne pas du nouveau, alors on se plante.<\/p>\n\n\n\n

C’est l\u00e0 que le parall\u00e8le en opposition avec Die Choristen<\/em> semble faire sens. D’autant plus que le petit R\u00e9mi a aussi une voix d’ange comme Pierre Morhange. Celle qui devrait le sauver de la fatalit\u00e9 de sa condition de \u00abpauvre, orphelin et sans identit\u00e9\u00bb. Le film de Christophe Barratier montre plus \u00e9videmment l’affection du personnage principal pour son entourage, son urgence aussi de trouver quelqu’un ou un lieu auquel s’accrocher pour donner sens \u00e0 sa vie. Il sonde ainsi l’abandon et le gouffre affectif.<\/p>\n\n\n\n

Scheinwaise
<\/h3>\n\n\n\n

Antoine Blossier filme, lui, uniquement la surface de ses personnages et manque de faire surgir leur intimit\u00e9 bless\u00e9e. Il est peut-\u00eatre tomb\u00e9 dans le pi\u00e8ge du film d’\u00e9poque et de costumes – par ailleurs tr\u00e8s soign\u00e9s gr\u00e2ce \u00e0 la costumi\u00e8re Agn\u00e8s Beziers. R\u00e9mi et son ma\u00eetre Vitalis vont, vagabonds, d’une aventure \u00e0 l’autre, sans surprises. R\u00e9mi est au bas de l’\u00e9chelle sociale et la remonte un peu par hasard en m\u00eame temps que la superbe de Vitalis diminue. D\u00e9j\u00e0 vu, d\u00e9j\u00e0 connu.
<\/p>\n\n\n\n

Dem Autor schreiben: <\/em>alexandre.waelti@leregardlibre.com<\/em><\/a><\/p>\n\n\n\n

Fotocredit: \u00a9 Path\u00e9 Films<\/p>\n\n\n\n
R\u00e9mi ohne Familie
<\/th><\/tr><\/thead>
Frankreich, 2018<\/td><\/tr>
Regie:<\/em> Antoine Blossier
<\/td><\/tr>
Drehbuch:<\/em> Antoine Blossier
<\/td><\/tr>
Dolmetschen:<\/em> Daniel Auteuil, Maleaume Paquin, Virginie Ledoyen, Johnathan Zacca\u00ef, Ludivine Sagnier, Albane Masson
<\/td><\/tr>
Produktion:<\/em> TF1 Films Productions
<\/td><\/tr>
Verteilung:<\/em> Mars Filme
<\/td><\/tr>
Dauer:<\/em> 1h49<\/td><\/tr>
Ausgehen:<\/em> 12. Dezember 2018<\/strong><\/td><\/tr><\/tbody><\/table>","protected":false},"excerpt":{"rendered":"

Les mercredis du cin\u00e9ma – Alexandre W\u00e4lti Antoine Blossier livre une p\u00e2le copie des Choristes de Christophe Barratier. 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