{"id":9667,"date":"2019-03-28T09:00:00","date_gmt":"2019-03-28T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/the-last-waltz\/"},"modified":"2026-11-09T07:11:27","modified_gmt":"2026-11-09T06:11:27","slug":"the-last-waltz","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/films\/the-last-waltz\/","title":{"rendered":"The Last Waltz"},"content":{"rendered":"

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Thanksgiving 1976 au Winterland<\/h3>\n

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The Last Waltz<\/em> est un concert d\u2019adieu. Le film reste sur cette nuit. Le soir de Thanksgiving 1976, le Winterland Ballroom sentait la dinde r\u00f4tie du d\u00eener servi avant. Bill Graham avait nourri San Francisco avant que The Band ne sorte pour le concert que Robbie Robertson disait \u00eatre leur dernier. Martin Scorsese ne traite pas cette d\u00e9cision comme un potin de coulisses. Il filme le concert comme la trace de ce choix. Seize ans de route, des Hawks de Ronnie Hawkins aux guerres \u00e9lectriques de Dylan jusqu\u2019\u00e0 Music from Big Pink<\/em>, sont d\u00e9j\u00e0 dans la salle avant la premi\u00e8re note.<\/p>\n

Robertson, Levon Helm, Rick Danko, Richard Manuel et Garth Hudson sonnent encore comme un groupe qui a appris ces chansons sur la route. The Weight<\/em> et The Night They Drove Old Dixie Down<\/em> ne sont pas jou\u00e9es comme un paquet de nostalgie. Helm chante d\u2019une voix rauque qui porte encore la tourn\u00e9e. Danko sourit dans ses chansons, au moment de quitter le groupe. Manuel regarde au-del\u00e0 des lumi\u00e8res. Hudson, presque cach\u00e9, tient les arrangements ensemble, ce que ses claviers avaient toujours fait. Les cam\u00e9ras de Scorsese restent assez pr\u00e8s pour saisir la courtoisie et la sueur avec la m\u00eame attention qu\u2019il donne \u00e0 une histoire.<\/p>\n

Puis les invit\u00e9s font entrer plusieurs courants de musique am\u00e9ricaine dans la m\u00eame salle. Muddy Waters prend Mannish Boy<\/em>. La chanson remplit la salle. Van Morrison pousse Caravan<\/em> dans un costume qui accroche les lumi\u00e8res. Joni Mitchell chante Coyote<\/em>. Neil Young se penche dans Helpless<\/em>. Quand la sangle d\u2019Eric Clapton l\u00e2che pendant Further On Up the Road<\/em>, Robertson entre sans discours. Neil Diamond chante Dry Your Eyes<\/em>. Il a l\u2019air un peu surpris d\u2019\u00eatre l\u00e0. Dylan arrive tard, dans un chapeau blanc. Le concert rappelle les ann\u00e9es qu\u2019il a pass\u00e9es sur la route avec ce groupe. Quelques voix ont \u00e9t\u00e9 ajout\u00e9es plus tard sur un plateau. Les images du concert portent encore cette nuit.<\/p>\n

Cette liste d\u2019invit\u00e9s n\u2019est pas de la d\u00e9coration. Elle montre comment la musique de The Band se tenait au croisement du blues, du folk, du R&B et du rock sans un discours pour l\u2019expliquer. Dr. John, Ronnie Hawkins, Paul Butterfield, the Staple Singers, Ringo Starr, Ron Wood : le g\u00e9n\u00e9rique nomme des musiciens d\u2019un circuit que les grosses tourn\u00e9es commen\u00e7aient \u00e0 remplacer. Les chansons portent cette histoire dans la fa\u00e7on dont elles sont jou\u00e9es.<\/p>\n

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\n

Seize ans sur la route, c\u2019est assez long. Vingt ans, c\u2019est impensable.<\/p>\n<\/blockquote>\n

(Robbie Robertson, The Last Waltz, 1978)<\/em><\/p>\n

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Les disputes ont commenc\u00e9 d\u00e8s que les assiettes ont \u00e9t\u00e9 d\u00e9barrass\u00e9es. Helm dirait que le film a couronn\u00e9 Robertson et a pouss\u00e9 les autres vers le bord, la version producteur d\u2019un groupe qui n\u2019avait jamais eu un seul patron. Les segments d\u2019interview, tourn\u00e9s sur un plateau MGM, donnent effectivement \u00e0 Robertson les phrases les plus longues. Le concert contredit cette mise en avant. Quand les cuivres entrent ou quand Helm s\u2019appuie sur le rythme, l\u2019image appartient de nouveau \u00e0 cinq personnes. Sorti au printemps 1978, The Last Waltz<\/em> garde le concert dans le cadre, plus que la f\u00eate autour.<\/p>\n

Pour un auditeur, le film est \u00e0 la fois document et album. Revenez au catalogue de The Band apr\u00e8s l\u2019avoir vu et les versions live aiguisent ce que les disques studio sugg\u00e9raient d\u00e9j\u00e0 : des chansons qui font confiance au jeu d\u2019ensemble plus qu\u2019\u00e0 un projecteur braqu\u00e9 sur un seul chanteur. Ce qui reste, c\u2019est le disque d\u2019un rock am\u00e9ricain jou\u00e9 par cinq personnes sur la m\u00eame sc\u00e8ne, pas un toast aux ann\u00e9es soixante. Scorsese, entre des ann\u00e9es plus dures pour lui-m\u00eame, a film\u00e9 la nuit o\u00f9 The Band a dit qu\u2019elle quittait la route. Le rock est rest\u00e9 sur la route apr\u00e8s \u00e7a. Le film est rest\u00e9 en circulation une fois les chaises empil\u00e9es.<\/p>\n

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