Usuari:Fredericg/proves2

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Tirez sur le pianiste


Infotaula de pel·lículaFredericg/proves2
Tirez sur le pianiste
Fitxa
DireccióFrançois Truffaut
Protagonistes
Charles Aznavour
Marie Dubois
Nicole Berger
Michèle Mercier
ProduccióFrançois Truffaut
GuióFrançois Truffaut
Marcel Moussy
David Goodis (novel·la)
ProductoraLes Films de la Pléiade
DistribuïdorLes Films du Carrosse
Dades i xifres
País d'origenFrança
Estrena1960
Durada78 minuts
Idioma originalfrancès
Pressupost₣890,062.95
Descripció
Gèneredrama
Cinema negre
thriller

Tirez sur le pianiste és una pel·lícula de la Nouvelle Vague francesa, dirigida per François Truffaut i estrenada l'any 1960. Està basada en la novel·la Down There de David Goodis.

Argument[modifica]

Charlie Kohler (Charles Aznavour) toca el piano en un bar de mala mort, amagant que en realitat és el famós pianista clàssic Edouard Saroyan que va abandonar la seva carrera arran del suicidi de la seva dona. Quan els seus germans tenen problemes amb uns gàngsters, es veu involucrat i ha de fugir. Amb ell va la cambrera del bar, Lena (Marie Dubois), que se n'ha enamorat i ha descobert la seva identitat.

Diferències respecte a la novel·la[modifica]

El film segueix la trama original sobre un home fugint de la seva vida destrossada fent l'única cosa que sap fer, però que no reïx a alliberar-se del passat. Tanmateix, l'obra de Truffaut esdevé alhora un tribut al gènere americà del cinema i la novel·la negres i una reflexió sobre la relació entre l'art i la commercialitat.

En especial, Truffaut canvia la personalitat de Charlie. El personatge original de Goodis -anomenat Edward Webster Lynn- és presentat com un home fort i segur que ha triat voluntàriament la soledat, mentre el Charlie Kohler de Truffaut és un home tímid i retret que s'hi ha trobat arrosegat per les circumstàncies i el seu caràcter reclòs.[1]

D'altra banda, la novel·la és adaptada amb humor, mostrant uns gàngsters més aviat simpàtics, multiplicant les sorpreses i digressions. Les dones són un tema central del film.[2][3] La majoria dels personatges masculins tenen una teoria sobre elles. El tema de l'amor, sempre present als films de Truffaut, pren aquí diversos aspectes suggerits per diferents personatges femenins. Michèle Mercier encarna l'amor físic i sense lligams mentre que Marie Dubois encarna l'amor romàntic.

Fitxa tècnica????[modifica]

Repartiment[modifica]

Production[modifica]

Background and writing[modifica]

[no crec]> Truffaut first read David Goodis's novel in the mid-1950s while shooting Les Mistons when his wife Madeleine Morgenstern read it and recommended it to him.[4] He immediately loved the book's dialogue and poetic tone and showed it to producer Pierre Braunberger, who bought the rights.[5] Truffaut later met Goodis in New York City, where the novelist gave Truffaut a vintage viewfinder from his brief experience as a 2nd Unit Director on a U.S. film.[6] <[no crec]

Truffaut said he made the film in reaction to the success of The 400 Blows, which he considered to be very French. He wanted to show his influence from American films.[5] He later told a reporter that he wanted to shock the audience that had loved The 400 Blows by making a film that would "please the real film nuts and them alone."[7] He previously had several ideas for films about children, but was afraid of repeating himself in his second film. He told a reporter, "I refused to be a prisoner of my own first success. I discarded temptation to renew that success by choosing a "great subject". I turned my back on what everyone waited for and I took my pleasure as my only rule of conduct."[7]

Truffaut began writing the script with Marcel Moussy, who had co-written The 400 Blows. Moussey said that he didn't understand the book and attempted to establish clear social roots for the characters. Truffaut disagreed, wanting to keep the film loose and abstract; Moussey left after a few weeks and Truffaut wrote the script himself.[8] One problem Truffaut had was that he considered the Goodis novel to be too chaste and he decided to make the characters less heroic.[9] The book's main character Charlie is also much stronger in the book and Truffaut called it a Sterling Hayden type. Truffaut decided to go the opposite direction and make the protagonist weaker and the female characters strong. Truffaut was also influenced by French writer Jacques Audiberti while writing the film, such as in his treatment of the character Plyne.[10] Truffaut also used some scenes from other Goodis novels, such as the early scene where Chico bumps into a lamp post and has a conversation with a stranger.[11]

Casting[modifica]

Truffaut had wanted to work with Charles Aznavour since seeing him act in Georges Franju's Head Against the Wall and wrote the role with Aznavour in mind.[12] Child actor Richard Kanayan had appeared in The 400 Blows and was always making the crew laugh, so Truffaut cast him as Charlie's youngest brother. Nicole Berger was an old friend of Truffaut's and also Pierre Braunberger's stepdaughter. Michèle Mercier was a dancer who had appeared in a few films before this role. Albert Remy had appeared in The 400 Blows and Truffaut wanted to show the actor's comedic side after his performance in the previous film. Truffaut also cast actor and novelist Daniel Boulanger and theatrical actor Claude Mansard as the two gangsters in the film.[13] Serge Davri was a music hall performer who had for years recited poems while breaking dishes over his head. Truffaut considered him crazy, but funny, and cast him as Plyne. Truffaut rounded out the cast with Catherine Lutz in the role of Mammy. Lutz had never acted before and worked at a local movie theater.[11]

Truffaut first noticed Marie Dubois when he came across her headshot during pre-production and attempted to set up several meetings with the actress, but Dubois never showed up. Truffaut finally saw Dubois perform on a TV show and immediately wanted to cast her shortly before filming began. Dubois's real name was "Claudine Huzé" and Truffaut changed it to Marie Dubois because she reminded him of the titular character of his friend Jacques Audiberti's novel Marie Dubois. Audiberti later approved of the actress's new stage name.[13] Truffaut later told a reporter that Dubois was "neither a 'dame' nor a 'sex kitten'; she is neither 'lively' nor 'saucey'. But she's a perfectly worthy young girl with whom it's conceivable you could fall in love and be loved in return."[14]

Filming[modifica]

Filming took place from 30 November 1959 until 22 January 1960 with some re-shoots for two weeks in March. Locations included a cafe called A la Bonne Franquette on the rue Mussard in Levallois, Le Sappey-en-Chartreuse, around Grenoble and throughout Paris.[15] The film' budget was 890,062.95 francs.[16] Whereas The 400 Blows had been a tense shoot for Truffaut, his second film was a happy experience for the cast and crew after Truffaut's first success.[11] Truffaut had wanted to make it as a big budget studio film, but was unable to get sufficient funds and the film was made on the streets instead.[17] Truffaut filled the film with homages to such American B movie directors as Nicholas Ray and Sam Fuller.[3] During the shooting Truffaut realized that he didn't like gangsters and tried to make their character more and more comical.[13] Pierre Braunberger initially didn't like Boby Lapointe's songs and said that he couldn't understand what Lapointe was saying. This inspired Truffaut to add subtitle with a bouncing ball.[9]

Filming style[modifica]

The film's script changed constantly during shooting. Truffaut said that "In Shoot the Piano Player I wanted to break with the linear narrative and make a film where all the scenes would please me. I shot without any criteria."[18]

Truffaut's stylized and self-reflexive melodrama employs the hallmarks of French New Wave cinema: extended voice-overs, out-of-sequence shots, and sudden jump cuts. The film's cinematography by Raoul Coutard was often grainy and kinetic, reflecting the emotional state of the characters, such as the scene in which Charlie hesitates before ringing a doorbell.[19]

Among the film references in Shoot the Piano Player are nods to Hollywood B movies from the 1940s, the techniques of using an iris from silent films, Charlie being named after Charlie Chaplin and having three brothers (including one named Chico) as a reference to the Marx Brothers,[20] and the film's structure and flashbacks being similar to the structure of Citizen Kane.[21] Truffaut later stated that "In spite of the burlesque idea to certain scenes, it's never a parody (because I detest parody, except when it begins to rival the beauty of what it is parodying). For me its something very precise that I would call a respectful pastiche of the Hollywood B films from which I learned so much."[22] This was also Truffaut's first film to include a murder, which would become a plot point in many of his films and was influenced by Truffaut's admiration of Alfred Hitchcock.[23]

Truffaut stated that the theme of the film is "love and the relations between men and women"[2][3] and later claimed that "the idea behind Le Pianiste was to make a film without a subject, to express all I wanted to say about glory, success, downfall, failure, women and love by means of a detective story. It's a grab bag."[24] Like The 400 Blows and Jules and Jim, Shoot the Piano Player was shot in Cinemascope, which Truffaut described as being like an aquarium which allows the actors to move around the frame more naturally.[25]

Autour du film[modifica]

  • Le film a été tourné du 30 novembre 1959 au 22 janvier 1960 à Paris, à Levallois-Perret et dans les Alpes près de Grenoble.
  • Boby Lapointe interprète deux chansons dans ce film (Framboise et Marcelle). À la demande des producteurs, qui la trouvaient incompréhensible, Framboise fut sous-titrée.
  • Le film permettra à Charles Aznavour de connaître une notoriété naissante aux États-Unis.
  • 42 ans après Tirez sur le pianiste, Charles Aznavour interprète dans le film Ararat de nouveau un personnage qui se nomme Édouard Saroyan, le nom de scène de son personnage dans le film de François Truffaut.
  • Bernadette Laffont affirma avoir dû renoncer à jouer la prostituée parce que Claude Chabrol lui promettait un rôle nettement plus important dans son film Les Bonnes Femmes (1960) tourné dans la même période.[26]

Referències[modifica]

  1. ↑ Brunette, 1993, p. 203.
  2. ↑ 2,0 2,1 Insdorf, 1995, p. 107.
  3. ↑ 3,0 3,1 3,2 Brunette, 1993, p. 129.
  4. ↑ Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1987. pp. 1125.
  5. ↑ 5,0 5,1 Brunette, 1993, p. 119.
  6. ↑ Brunette, 1993, p. 123.
  7. ↑ 7,0 7,1 Brunette, 1993, p. 134.
  8. ↑ Brunette, 1993, p. 124.
  9. ↑ 9,0 9,1 Brunette, 1993, p. 122.
  10. ↑ Brunette, 1993, p. 132.
  11. ↑ 11,0 11,1 11,2 Brunette, 1993, p. 127.
  12. ↑ Brunette, 1993, p. 131.
  13. ↑ 13,0 13,1 13,2 Brunette, 1993, p. 125.
  14. ↑ Brunette, 1993, p. 130.
  15. ↑ Brunette, 1993, p. 33.
  16. ↑ Brunette, 1993, p. 126.
  17. ↑ Brunette, 1993, p. 142.
  18. ↑ Wakeman. pp. 1125.
  19. ↑ Insdorf, 1995, p. 24.
  20. ↑ Insdorf, 1995, p. 26.
  21. ↑ Insdorf, 1995, p. 33-34.
  22. ↑ Brunette, 1993, p. 5.
  23. ↑ Insdorf, 1995, p. 44.
  24. ↑ Insdorf, 1995, p. 27.
  25. ↑ Brunette, 1993, p. 120.
  26. ↑ Bernadette Lafont, Le Roman de ma Vie, Flammarion, 1997.

Bibliografia[modifica]

Enllaços externs[modifica]


Plantilla:Palette

Plantilla:Portail

Catégorie:Film français sorti en 1960 Catégorie:Film noir Catégorie:Film réalisé par François Truffaut Catégorie:Film avec une musique composée par Georges Delerue Catégorie:Film produit par Pierre Braunberger Catégorie:Adaptation d'un roman au cinéma Catégorie:Film tiré d'une œuvre de David Goodis Catégorie:Film tourné à Paris Catégorie:Film tourné à Grenoble Catégorie:Film tourné en Isère Catégorie:Piano au cinéma Catégorie:Prostitution au cinéma Catégorie:Film de la Nouvelle Vague Catégorie:Film français en noir et blanc Catégorie:Film romantique des années 1960 Catégorie:Film dramatique français

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