{"id":18918,"date":"2019-01-30T12:55:19","date_gmt":"2019-01-30T11:55:19","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=18918"},"modified":"2025-12-04T22:38:37","modified_gmt":"2025-12-04T21:38:37","slug":"the","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/the\/","title":{"rendered":"The history of the \u00abColette\u00bb pen\u00bb"},"content":{"rendered":"<p><em>Cinema Wednesdays - Lauriane Pipoz<\/em><\/p>\n\n\n\n<p class=\"has-drop-cap\"><em>Colette<\/em> dresse le portrait de Sidonie-Gabrielle Colette, l\u2019un des plus grands \u00e9crivains de la France du XX<sup>th <\/sup>si\u00e8cle. Cette femme de lettres fran\u00e7aise est extr\u00eamement int\u00e9ressante sous plusieurs aspects. Elle peut \u00eatre vue \u00e0 travers de nombreux prismes: plume de g\u00e9nie, bisexuelle et personne de caract\u00e8re, elle \u00e9tait une femme tr\u00e8s atypique pour son temps. Raison pour laquelle des Am\u00e9ricains et des Anglais se sont int\u00e9ress\u00e9s \u00e0 elle et nous livrent un film tr\u00e8s riche \u2013 mais peut-\u00eatre un peu trop.<\/p>\n\n\n\n<p style=\"color:#1d296c\" class=\"has-text-color\"><strong>Read also: <\/strong><em><a href=\"https:\/\/leregardlibre.com\/en\/2019\/01\/16\/mary-poppins-a-pleasant-return-to-childhood\/\"><strong>Mary Poppins<\/strong><\/a><\/em><a href=\"https:\/\/leregardlibre.com\/en\/2019\/01\/16\/mary-poppins-a-pleasant-return-to-childhood\/\"><strong>, un retour en enfance des plus agr\u00e9ables<\/strong><\/a><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>\u00abWilly te tient au bout d\u2019une longue laisse. Peut-\u00eatre que \u00e7a te pla\u00eet\u00bb<\/strong><\/h3>\n\n\n\n<!--more-->\n\n\n\n<p>L\u2019histoire de Colette (Keira Knightley) est celle d\u2019une femme cach\u00e9e derri\u00e8re un homme: son mari, Henry Gauthier-Villars (Dominic West), est un \u00e9crivain mondain connu sous le nom de Willy. N\u00e9anmoins, il n\u2019a de l\u2019\u00e9crivain presque que la r\u00e9putation: accro \u00e0 la notori\u00e9t\u00e9, il utilise en r\u00e9alit\u00e9 des pr\u00eate-plumes pour \u00e9crire ses romans. A court de personnel et sentant en elle le potentiel, il a alors l\u2019id\u00e9e de g\u00e9nie de demander \u00e0 sa femme de coucher son enfance sur le papier. Ce roman sera un grand succ\u00e8s: d\u00e8s sa sortie, <em>Claudine <\/em>se trouve entre toutes les mains du tout-Paris. <\/p>\n\n\n\n<p>Si Gauthier-Villars est un homme malhonn\u00eate qui se fait passer pour un \u00e9crivain qu\u2019il n\u2019est pas, il a tout de m\u00eame le m\u00e9rite d\u2019avoir flair\u00e9 le talent, et d\u2019avoir su le guider. Ce fait est bien rendu \u00e0 l\u2019\u00e9cran. L\u2019alchimie entre les acteurs interpr\u00e9tant Colette et son mari permet de voir que leur relation n\u2019\u00e9tait pas que celle d\u2019un abuseur et d\u2019une soumise. En un certain sens, il y trouvaient tous les deux leur compte. Cependant, les personnages manquent cruellement de nuance. La faute \u00e0 des dialogues st\u00e9r\u00e9otyp\u00e9s et \u00e0 des sc\u00e8nes qui demanderaient \u00e0 \u00eatre approfondies: on les voit \u00e0 plusieurs reprises se disputer de mani\u00e8re peu cr\u00e9dible. Sur ce point, les r\u00e9alisateurs semblent avoir trop forc\u00e9 le trait. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>\u00abL\u2019infid\u00e9lit\u00e9 d\u00e9pend du genre pour vous\u00bb<\/strong><\/h3>\n\n\n\n<p>Le film parle aussi des amours libertines des deux \u00e9poux: Colette est bisexuelle et son mari l\u2019encourage \u00e0 aller jusqu\u2019au bout de cette bisexualit\u00e9 afin de pouvoir la raconter dans la saga des <em>Claudine<\/em>. Gauthier-Villars est lui aussi infid\u00e8le. L\u2019occasion de montrer ici la diff\u00e9rence de traitement entre le mari et la femme: si le premier se permet de coucher avec des femmes, la seconde n\u2019est autoris\u00e9e <em>than<\/em> coucher avec des femmes. C\u2019est le mari qui d\u00e9cide pour son \u00e9pouse. <\/p>\n\n\n\n<p>Le probl\u00e8me du genre au d\u00e9but du XX<sup>th <\/sup>si\u00e8cle est bien pr\u00e9sent dans <em>Colette<\/em>, mais n\u2019est qu\u2019\u00e9voqu\u00e9: certaines sc\u00e8nes mettent bien en lumi\u00e8re ce sujet \u00e0 travers des dialogues, mais les discussions sont tr\u00e8s courtes. L\u2019image sans complexit\u00e9 des protagonistes participe probablement de l\u2019impression qu\u2019ils ont tous des avis tr\u00e8s tranch\u00e9s. On devine que les personnes sur lesquelles le film se base \u00e9taient bien plus nuanc\u00e9es, et c\u2019est dommage qu\u2019il ne r\u00e9ussisse pas \u00e0 en rendre compte.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Un portrait de la\nmodernit\u00e9, aussi<\/strong><\/h3>\n\n\n\n<p><em>Colette <\/em>reste n\u00e9anmoins historique, et ceux qui appr\u00e9cient les films \u00e0 costumes seront extr\u00eamement bien servis. La modernit\u00e9 omnipr\u00e9sente passe par les premi\u00e8res bicyclettes, la reconstitution du Paris du d\u00e9but du si\u00e8cle ou encore les d\u00e9buts de l\u2019\u00e9lectricit\u00e9 \u00e0 domicile. En ce sens, le but est atteint. Beaucoup de choses dans ce film, donc: du bon et du moins bon. Voil\u00e0 peut-\u00eatre le vrai d\u00e9faut de ce film: les sc\u00e8nes sont trop courtes et se succ\u00e8dent parfois tr\u00e8s rapidement, emp\u00eachant le spectateur de suivre une ligne directrice et lui faisant faire des sauts dans le temps. On voit bien o\u00f9 l\u2019on veut en venir, mais cela rend les personnages peu cr\u00e9dibles, malgr\u00e9 une magnifique prestation des deux acteurs principaux. Dommage. <\/p>\n\n\n\n<p><em>Write to the author:&nbsp;<a href=\"mailto:lauriane.pipoz@gmail.com\">lauriane.pipoz@gmail.com<\/a><\/em><\/p>\n\n\n\n<p>Photo credit: \u00a9 DCM Film Distribution<\/p>\n\n\n\n<table class=\"wp-block-table\"><thead><tr><th>COLETTE<\/th><\/tr><\/thead><tbody><tr><td>Royaume-Uni et Etats-Unis, 2019<\/td><\/tr><tr><td><em>Production:<\/em>&nbsp;Wash Westmoreland<\/td><\/tr><tr><td><em>Screenplay:<\/em>&nbsp;Richard Glatzer, Wash Westmoreland et Rebecca Lenkiewicz<\/td><\/tr><tr><td><em>Interpretation:<\/em>&nbsp;Keira Knightley, Dominic West, Eleanor Tomlinson<\/td><\/tr><tr><td><em>Production:<\/em>&nbsp;Pamela Koffler <em>et alii<\/em><\/td><\/tr><tr><td><em>Distribution:<\/em>&nbsp;DCM Film Distribution<\/td><\/tr><tr><td><em>Duration:<\/em>&nbsp;1h52<\/td><\/tr><tr><td><em>Output:<\/em><strong>&nbsp;16 janvier 2019<\/strong><\/td><\/tr><\/tbody><\/table>\n\n\n\n<p><br><\/p>","protected":false},"excerpt":{"rendered":"<p>Les mercredis du cin\u00e9ma \u2013 Lauriane Pipoz Colette dresse le portrait de Sidonie-Gabrielle Colette, l\u2019un des plus grands \u00e9crivains de&#8230;<\/p>","protected":false},"author":102,"featured_media":18919,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[9360232,644340940,277140,1532851],"class_list":["post-18918","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-cinema-britannique","tag-colette","tag-litterature-francaise","tag-litterature-francophone"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.9 (Yoast SEO v26.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>L\u2019histoire de la plume de \u00abColette\u00bb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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