Director’s plateau photographer, William Karel sketches the portrait of a man who made his torment the material of his art.
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You come from (re) See, at 8:50 pm, we will not grow together (1972), this vivisection of impossible love, and you chained with the Pialat sun, William Karel’s documentary. You might already know, otherwise you will see it very quickly, the director who is in the center of Karel’s film is the identical twin of John, the injured man and hurting that John Yanne in we will not grow together.
When it was his turn to go to the cameras, to talk about the television trays of the movies where he showed himself under the features of Jean Yanne, Philippe Léotard (open mouth), Guy Marchand (Loulou) or Gérard Deparieu (the Garce), Maurice Pialat pursued this naked company, denigrating with the same energy as it had to belittle its actors during the shoot.
William Karel was the Plateau photographer of Maurice Pialat, from our love (1983) to his latest film, the Garce (1995). He witnessed the miraculous encounter between the filmmaker and Sandrine Bonnaire for the first of these films, from the sinking that was the police filming (1985), the tribulations of Van Gogh (1991), marked by violent conflicts between the director and its producers. At the invitation of Pialat, Karel turned his first documentary during the filming of under the sun of Satan (1987), the adaptation of Bernanos who earned his author a golden palm, remained famous by the Brorse that she Provoked in the spans of the Theater Light of Cannes.
Sedied and lucid lyrics
To sketch (how to do more in fifty-two minutes?), the portrait of this solitaire, which has always been kept away from the movements (starting with the new wave) as Coteries, Karel asked In Sandrine Bonnaire, the elected, or Sophie Marceau, the reprobate, brutalized and harassed by Pialat and Depardieu during the police filming (1985), to remember this man who has done everything to be confused with his work.
Accompanied by old documents, like this corporate film shot for Olivetti (or worked Pialat from 1954 to 1957) on the model of a burlesque short film, these appealing and lucid words open a window on the creative process of An artist who seems to have found inspiration only in the pain, whether it is to come to the world (his first film, the naked childhood [1968] brutally shows the evil to live in a placed child), to love (we will not grow together, loulou) or create (van gogh).
The statue of the suffering artist is barely nuanced by the last sequences devoted to the Garce, built around the figure of a child, his. This paternal love discovered in extremis was nevertheless darkened by the consciousness of a next end, as Gérard Depardieu says in one of the most moving sequences of the Karel film.