{"id":4896,"date":"2025-12-06T09:30:28","date_gmt":"2025-12-06T08:30:28","guid":{"rendered":"https:\/\/cineclubbedarieux.fr\/?p=4896"},"modified":"2026-02-17T07:32:34","modified_gmt":"2026-02-17T06:32:34","slug":"diva-lundi-16-fevrier-18h15-et-20h30","status":"publish","type":"post","link":"https:\/\/cineclubbedarieux.fr\/index.php\/2025\/12\/06\/diva-lundi-16-fevrier-18h15-et-20h30\/","title":{"rendered":"\u00ab\u00a0Diva\u00a0\u00bb lundi 16 f\u00e9vrier 18h15 et 20h30"},"content":{"rendered":"\n

Jean-Jacques Beineix<\/a> (1981) France 1h57 Avec: Wilhelmenia Wiggins Fernandez<\/a>, Fr\u00e9d\u00e9ric Andrei<\/a>, Jacques Fabbri<\/a><\/strong><\/p>\n\n\n\n

Un jeune postier amoureux du bel canto r\u00e9alise un enregistrement pirate d\u2019un concert donn\u00e9 par une diva. Sa passion et un hasard malencontreux vont provoquer une chasse \u00e0 l\u2019homme dont il est la proie.<\/strong><\/p>\n\n\n\n

Romanesque, une ambiance fascinante, une mise en sc\u00e8ne sublime, un film culte<\/strong><\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Une ambiance m\u00ealant \u00e9motions li\u00e9es \u00e0 l\u2019\u00e9coute de la musique classique, portrait de personnages pittoresques pris dans l\u2019engrenage d\u2019un polar d\u00e9cal\u00e9, et plans tarabiscot\u00e9s (audace pour les fans de Beineix, esbroufe pour ses d\u00e9tracteurs). Plus de quarante ans apr\u00e8s sa sortie, ce film de mode a pris certes quelques rides (les subtilit\u00e9s des vid\u00e9ocassettes et les vols de vinyle chez des disquaires branch\u00e9s n\u2019impressionnent plus personne) mais reste attachant, narrativement efficace, tout en \u00e9tant d\u00e9sormais dot\u00e9 d\u2019un potentiel nostalgique qui est la marque des anciens succ\u00e8s. Qualifi\u00e9 un peu trop rapidement \u00e0 l\u2019\u00e9poque de cin\u00e9aste publicitaire, \u00e0 l\u2019instar de Luc Besson puis, \u00e0 un moindre degr\u00e9, Leos Carax, Beineix tentait en fait de greffer une certaine \u00ab qualit\u00e9 fran\u00e7aise \u00bb \u00e0 l\u2019esprit en libert\u00e9 de la Nouvelle Vague, tout en proposant une french touch<\/em> tr\u00e8s ancr\u00e9e sur les eighties<\/em>.<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

La bande sonore du film joue \u00e9galement un r\u00f4le crucial dans son succ\u00e8s. M\u00ealant habilement l\u2019aria \u00ab Ebben? Ne andr\u00f2 lontana \u00bb de l\u2019op\u00e9ra \u00ab La Wally \u00bb d\u2019Alfredo Catalani \u00e0 des compositions \u00e9lectroniques modernes de Vladimir Cosma, elle contribue \u00e0 cr\u00e9er une atmosph\u00e8re unique, \u00e0 la fois classique et contemporaine. Cette fusion audacieuse des styles musicaux refl\u00e8te parfaitement l\u2019ambition du film de transcender les fronti\u00e8res entre la culture \u00ab haute \u00bb et la culture populaire.<\/strong><\/p>\n\n\n\n

\u00ab Diva \u00bb aborde \u00e9galement des th\u00e8mes profonds et intemporels, tels que la qu\u00eate de l\u2019authenticit\u00e9 dans un monde de plus en plus domin\u00e9 par la technologie et la reproduction m\u00e9canique. Le film explore les notions d\u2019art, de passion et d\u2019obsession, tout en offrant une r\u00e9flexion sur la soci\u00e9t\u00e9 fran\u00e7aise de l\u2019\u00e9poque, en pleine mutation technologique et culturelle Le monde du polar<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

Le r\u00e9alisateur<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n

\n
\"\"
BEINEX JEAN-JACQUES 1989 \u00a9 ERLING MANDELMANN<\/figcaption><\/figure>\n<\/div>\n\n\n

Jean-Jacques Beineix <\/strong>d\u00e9bute comme assistant-r\u00e9alisateur de Jean Becker <\/strong>sur la c\u00e9l\u00e8bre s\u00e9rie t\u00e9l\u00e9vis\u00e9e Les saintes ch\u00e9ries (1964-1967) puis sur Le Cin\u00e9ma de papa de Claude Berri <\/strong>en 1970. Il demeure assistant-r\u00e9alisateur pendant une dizaine d’ann\u00e9es, aupr\u00e8s de Ren\u00e9 Cl\u00e9ment <\/strong>pour La Course du li\u00e8vre \u00e0 travers les champs (1971) ou de Claude <\/strong>Zidi sur L’Animal par exemple en 1977.<\/em><\/p>\n\n\n\n

Son premier long m\u00e9trage, Diva<\/strong>, r\u00e9alis\u00e9 en 1980 conna\u00eet un succ\u00e8s populaire couronn\u00e9 de quatre C\u00e9sar en 1982. Son deuxi\u00e8me film La Lune dans le caniveau <\/strong>malgr\u00e9 sa s\u00e9lection au festival de Cannes en 1983 sera un \u00e9chec. En 1984, \u00e0 la lecture du manuscrit de Philippe Djian, il d\u00e9cide de r\u00e9aliser 37\u00b02 le matin<\/a> <\/strong>dont l’actrice principale est B\u00e9atrice Dalle<\/strong>, jusqu’alors inconnue. Le succ\u00e8s du film et son interpr\u00e9tation la propulsent au rang de star. Il choisit Isabelle Pasco <\/strong>pour incarner le r\u00f4le-titre de Roselyne et les Lions <\/strong>en 1989 mais sans succ\u00e8s.<\/em><\/p>\n\n\n\n

En 1992, c\u2019est au tour d’IP5 <\/strong>de conna\u00eetre la d\u00e9b\u00e2cle : la mort brutale d\u2019Yves Montand <\/strong>au cours du tournage nourrit l\u2019insidieuse rumeur qui accuse Jean-Jacques Beineix de ne pas avoir assez m\u00e9nag\u00e9 l’acteur. Cette pol\u00e9mique p\u00e9nalise le film, qui est encore une fois un \u00e9chec commercial. Tr\u00e8s affect\u00e9 par ces circonstances, Beineix ne tournera plus de longs m\u00e9trages pendant une dizaine d\u2019ann\u00e9es et se dirigera vers la r\u00e9alisation et la production de documentaires pour la t\u00e9l\u00e9vision.<\/em><\/p>\n\n\n\n

En 2001, apr\u00e8s neuf ans d’absence au cin\u00e9ma, il r\u00e9alise Mortel Transfert <\/strong>avec Jean-Hugues Anglade <\/strong>et H\u00e9l\u00e8ne de Fougerolles<\/strong>, tentative de retour avort\u00e9 qui est un \u00e9chec critique et commercial complet. \u00c0 l’automne 2006, il publie ses m\u00e9moires, Les Chantiers de la gloire,<\/strong><\/em><\/p>\n\n\n\n

En 2015, il r\u00e9alise sa premi\u00e8re mise en sc\u00e8ne th\u00e9\u00e2trale <\/strong>au Lucernaire, \u00e0 Paris, inspir\u00e9e de la vie de Kiki de Montparnasse. . En 2020, il publie son premier roman : Toboggan<\/strong>, couronn\u00e9 par le prix des lecteurs du magazine Notre temps, chronique d\u2019un amour d\u00e9\u00e7u qui ressemble beaucoup \u00e0 une confession autobiographique et \u00ab dans lequel il fait part d’une r\u00e9flexion sans concession sur le sens de sa vie et les liens entre l’amour et l\u2019art. \u00bb Jean-Jacques Beineix meurt \u00e0 son domicile parisien le 13 janvier 2022 \u00e0 l’\u00e2ge de 75 ans ,<\/p>\n\n\n\n

<\/p>\n\n\n\n

Que dit Beineix de Diva<\/strong><\/p>\n\n\n\n

Beineix explique que Diva<\/em> met en sc\u00e8ne un affrontement entre la puret\u00e9<\/strong> (Jules, la musique, la cantatrice) et un univers corrompu<\/strong> (les gangsters, les int\u00e9r\u00eats \u00e9conomiques, la violence).
Pour lui, la beaut\u00e9 n\u2019est pas d\u00e9corative : elle est une force morale<\/strong>, un moyen de se tenir debout face \u00e0 la vulgarit\u00e9 ambiante.<\/p>\n\n\n\n

Contrairement \u00e0 ce que les critiques ont dit \u00e0 l\u2019\u00e9poque, il affirme que son esth\u00e9tique baroque n\u2019est pas gratuite.
La couleur, la lumi\u00e8re, les d\u00e9cors servent \u00e0 exprimer le rapport des personnages au monde<\/strong> \u2014 notamment la mani\u00e8re dont Jules voit la chanteuse ou Paris. La stylisation est, pour lui, une \u00e9thique du regard<\/strong>, pas un effet de mode.<\/p>\n\n\n\n

Diva<\/em> n\u2019est ni un manifeste esth\u00e9tique ni un exercice de style : c\u2019est une \u0153uvre sinc\u00e8re<\/strong>, guid\u00e9e par le d\u00e9sir.car Il dit qu\u2019il n\u2019avait aucune strat\u00e9gie, seulement une intuition forte qu\u2019il fallait \u00ab oser \u00bb. Cette libert\u00e9 explique, selon lui, l\u2019\u00e9nergie singuli\u00e8re de Diva<\/em>.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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