{"id":286,"date":"2008-01-30T16:07:26","date_gmt":"2008-01-30T15:07:26","guid":{"rendered":"http:\/\/www.ikiru.ch\/blog\/2008\/spellbound"},"modified":"2025-05-08T19:02:37","modified_gmt":"2025-05-09T00:02:37","slug":"spellbound","status":"publish","type":"post","link":"https:\/\/www.jcvignoli.com\/blog\/2008\/spellbound","title":{"rendered":"Spellbound"},"content":{"rendered":"\n

Une maison de fou pour pr\u00e9senter la psychiatrie; Hitchcock, qui s’int\u00e9resse comme un damn\u00e9 \u00e0 cette discipline encore relativement peu connue du grand public \u00e0 cette \u00e9poque, et construit le film brique apr\u00e8s brique telle une s\u00e9ance sur le divan.<\/p>\n\n\n\n

La symbolique est une merveille : de la femme d\u00e9bauch\u00e9e (la sublissime Rhonda Fleming), jouant aux jeux de cartes et nymphomane, il passe \u00e0 la psychorigide (Ingrid Bergmann), incapable d’aimer, qui est la psychiatre. L’une et l’autre sont oppos\u00e9es d\u00e8s les premi\u00e8res images du film, mais Hitch ne suivra que la seconde, puisqu’apr\u00e8s tout elle a r\u00e9ussi sa vie.<\/p>\n\n\n

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

Les explications psychiatriques, l’analyse des r\u00eaves semblent un peu adolescentes, pas tout \u00e0 fait termin\u00e9es, na\u00efves \u00e0 souhait; pas de doute, c’est ce qui a le plus vieilli dans ce film. 50 ans plus tard, ces notions sont connues et ressass\u00e9es dans la culture populaire, et le film ne pousse pas assez ses recherches en la mati\u00e8re. Puisant dans un pot d’id\u00e9es qui semblent tr\u00e8s na\u00efves, on a un peu l’impression qu’on nous explique la gravit\u00e9 alors que nous sommes familiers de la th\u00e9orie des cordes; on en sait trop, beaucoup trop, pour suivre Hitchcock<\/p>\n\n\n\n

Ce qui n’a pas pris une ride en revanche, c’est la folie des personnages, qu’on croirait parfois sortis tout droit de l’imagination de Salvador Dali et non d’Hitchcock. L’artiste \u00e0 la c\u00e9l\u00e8bre moustache, qui a contribu\u00e9 aux d\u00e9cors, a d\u00fb exciter les envies de m\u00e9taphore de Hitchcock. \u00ab\u00a0Le complexe du culpabilit\u00e9\u00a0\u00bb, coeur du film, est tr\u00e8s vite effac\u00e9 par les tourments qu’affrontent les protagonistes, tous plus perturb\u00e9s les uns que les autres. Phobie de la couleur blanche et amn\u00e9sie chez Cary Grant, mais aussi sociopathie chez les psychiatres, et ils sont nombreux dans le film.<\/p>\n\n\n\n

Rationnel froid de la science, mais aussi irrationnel fou de l’amour. Une sc\u00e8ne-cl\u00e9 du film r\u00e9side dans l’embrassade du psychiatre et son patient, devant un portier de train atterr\u00e9 par tant d’ind\u00e9cence publique : Hitchcock semble d\u00e9clarer ici que, au-del\u00e0 de la normalit\u00e9 qu’on voudrait obtenir gr\u00e2ce aux psychiatres, la rupture des conventions est jouissive, bonne pour l’\u00e2me.<\/p>\n\n\n\n

Spellbound est incontestablement \u00e0 voir et revoir, pour saisir les nuances, les jeux de mots, les m\u00e9taphores cach\u00e9es ins\u00e9r\u00e9es par Hitchcock. L’humour, le suspense, les m\u00e9taphores sexuelles ou non, le cocktail se boit d\u00e9licieusement couch\u00e9 sur le divan… du salon.<\/p>\n

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Une maison de fou pour pr\u00e9senter la psychiatrie; Hitchcock, qui s’int\u00e9resse comme un damn\u00e9 \u00e0 cette discipline encore relativement peu connue du grand public \u00e0 cette \u00e9poque, et construit le film brique apr\u00e8s brique telle une s\u00e9ance sur le divan. La symbolique est une merveille : de la femme d\u00e9bauch\u00e9e (la sublissime Rhonda Fleming), jouant 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