Pifff 2013 : Carrie, la vengeance
Adaptation réussie d’un roman de Stephen King, Carrie, la vengeance se pose à contre-courant de la production actuelle du genre.
La très grande majorité des films d’horreur répondent désormais à un schéma narratif si balisé qu’il leur faut déployer une panoplie de dispositifs de plus en plus alambiqués pour chercher un soupçon de raison d’être, voyez toutes les variations possibles et imaginables autour du found footage. On est donc agréablement surpris de voir que cette nouvelle adaptation du premier roman de Stephen King ne nous balance pas vainement sa séquence gore ou son jump scare douteux toutes les dix minutes mais ménage ses effets dans une montée progressive de la tension jusqu’à une apothéose, le fameux bal du diable, que l’on reçoit comme une délivrance. En effet, hormis une efficace scène d’ouverture qui n’a rien de gratuit, la réalisatrice Kimberley Peirce (Boys Don’t Cry) choisit plutôt de se livrer à une étude de caractère, celle d’une jeune fille en fleur nommée Carrie White, plongée dans l’enfer que peut devenir le lycée lorsque, timide et complexé, on tend à s’isoler de ses camarades de classes, provoquant au mieux leur indifférence, au pire leur haine.
Non ma fille, tu n’iras pas danser.
Ces deux premiers tiers sont les plus passionnants du film, les éléments (la télékinésie, le complot du bal…) se cristallisant autour de Carrie avec une rigueur qui confère à la vengeance du titre un caractère inéluctable. C’est aussi dans les rapports entre Carrie et sa mère que la réalisatrice donne le meilleur d’elle-même, fortement aidée par l’interprétation de Julianne Moore qui parvient à susciter la compassion pour une Margaret White sévère et intransigeante jusqu’à la cruauté, mais ambivalente parce que cette cruauté est le fruit de l’affection sincère qu’elle porte à sa fille et d’une bigoterie que seule la psychopathologie pourrait expliquer. Carrie n’est jamais qu’une enfant que sa mère embrasse quotidiennement pour mieux la gifler. Avec ce petit plus qui fait la marque de Stephen King : Carrie déplace les objets par la pensée.
Face à l’imparable Julianne Moore, la Hit-Girl de Kick-Ass Chloë Grace Moretz s’en tirerait très bien si le choix de lui faire endosser le personnage de Carrie White ne posait en soi problème. Mignonne et mutine, ses efforts pour paraître l’adolescente ingrate que personne n’a envie d’aborder sont un peu vains, impression à laquelle s’ajoute le fait que toutes les filles de sa classe sont âgées d’une bonne dizaine d’années de plus qu’elle. De quoi nuire à la crédibilité du personnage, dommage. Malgré tout, s’il n’est jamais facile de reprendre le flambeau d’illustres prédécesseurs, il est indéniable que dans le bal des remakes Kimberley Peirce s’en sort avec les honneurs.
Sortie en salles le 4 décembre.
2013. Etats-Unis. 1h40. Réalisé par Kimberley Peirce.
Avec Chloë Grace Moretz, Julianne Moore, Gabriella Wilde, Portia Doubleday, Alex Russell…
Houlala Ray, selon l’expression consacrée : on a pas DU TOUT vu le même film !!! Faut vite que je me fende d’un « contre » moi…
Ding, ding ! A ma gauche, Ray Fernandez dit « Le Tueur de la lune de miel », à ma droite John Plissken dit « le rédacteur en chef du Daily Mars » (un titre encore plus effrayant pour qui y travaille) : Messieurs, pas de coup bas, le sujet imposé, Carrie, la vengeance…COMBAT !!!
alors …. ce carrie ?? il y a de la rage dedans ?
Oh, joli ! 🙂
Un des pires nanars de l’année : pire qu’un mauvais film, un film inutile.
Il n’y a pas de film inutile 😉
Un remake de Carrie, pourquoi pas ? Pour donner un autre angle, une nouvelle lecture du bouquin de King, pour faire peur… A part un prologue sur la naissance de Carrie, tout est repompé sur le De Palma, la laideur et la bêtise en bonus.
Votre article fait l’impasse sur l’original, c’est quand même un comble. Vous auriez pu parler de la musique de Pino Donaggio, de la photo Mario Tosi, de la directeur artistique de Jack Fisk (qui a bossé avec Malick), de la mise en scène (vous vous rappelez de la scène du bal, avec le split screen?°). Et comparer avec la version de Kimberly Peirce.
Ici, tout est laid, mal foutu, avec des images de synthèse dégueu, des problèmes de scénario (l’héroïne, c’est Carrie, ou Sue Snell, la blondasse qui a des remords ?) : bref, c’est un gros téléfilm pour ados boutonneux. Si on veut, on peut sauver la prestation de Julianne Moore, assez drôle en folle hystéro qui aime Jésus et la mutilation.
Donc oui, vous avez raison, ce n’est pas un found footage. A part cela, vous ne dîtes pas grand-chose. Carrie est « film » produit juste pour faire passer à la caisse les ados qui ne connaissent pas l’original, une œuvre qui a l’air d’avoir connu pas mal de problèmes (avec une sortie reportée d’au moins six mois). Bref, comme je vous le disais un film inutile. Mon conseil, revoyez le De Palma.
Merci pour votre conseil, Marc. Croyez-moi, je connais bien le De Palma.
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