{"id":9685,"date":"2026-08-08T09:00:00","date_gmt":"2026-08-08T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/purple-rain\/"},"modified":"2026-08-08T09:00:00","modified_gmt":"2026-08-08T07:00:00","slug":"purple-rain","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/purple-rain\/","title":{"rendered":"Purple Rain"},"content":{"rendered":"

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Un \u00e9vangile \u00e9crit \u00e0 Minneapolis<\/h3>\n

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The Kid n’entre pas vraiment au First Avenue : il y explose. Purple Rain<\/em> d’Albert Magnoli, sorti en juillet 1984, fait semblant d’\u00eatre l’histoire d’un musicien de Minneapolis, de son p\u00e8re violent, de sa m\u00e8re, d’un rival nomm\u00e9 Morris Day et d’une femme appel\u00e9e Apollonia. C’est tout cela, en mince, et puis c’est mieux : un long m\u00e9trage qui soutient que Prince and the Revolution \u00e9taient d\u00e9j\u00e0 un cin\u00e9ma avant qu’on leur loue une intrigue.<\/p>\n

Les chansons dirigent pour de vrai. Let’s Go Crazy<\/em> ouvre l’\u00e9glise et la blague dans le m\u00eame souffle. The Beautiful Ones<\/em> est une reptation sur le sol que la cam\u00e9ra sait ne pas ranger. When Doves Cry<\/em>, construit sans basse, Prince en jouant l’essentiel lui-m\u00eame, sonne encore comme une pi\u00e8ce dont on a tir\u00e9 les meubles pour laisser de la place au sentiment. Wendy Melvoin et Lisa Coleman ne sont pas des ornements. Dans le film comme dans le groupe, elles sont la pression qui le force \u00e0 laisser d’autres mains sur les chansons. Purple Rain<\/em> elle-m\u00eame, ce long climat de guitare \u00e0 la fin, est film\u00e9e comme un office. Les gens pleurent parce que l’accord le leur dit, pas parce qu’un sc\u00e9nario le souligne.<\/p>\n

Morris Day et Jerome Benton, et The Time derri\u00e8re eux, emp\u00eachent le film de se noyer dans sa propre meurtrissure. Ils sont dr\u00f4les, nets, locaux, rappel que cette sc\u00e8ne \u00e9tait une comp\u00e9tition, pas un sacre. Les sc\u00e8nes domestiques sont plus gauches. Un p\u00e8re qui frappe, un fils qui r\u00e9p\u00e8te le geste, une r\u00e9demption qui arrive parce que le troisi\u00e8me acte en a besoin. Le film ne conna\u00eet pas la retenue, ce qui est \u00e0 la fois sa mauvaise litt\u00e9rature et son honn\u00eatet\u00e9. Darling Nikki<\/em> sera bient\u00f4t brandie par les parents qui voulaient des avertissements sur les disques. Prince avait d\u00e9j\u00e0 mis l’avertissement dans la chanson, et dans\u00e9 quand m\u00eame.<\/p>\n

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\n

L’un des plus grands films de rock de tous les temps.<\/p>\n<\/blockquote>\n

(Roger Ebert, Chicago Sun-Times, 1987)<\/em><\/p>\n

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Tourn\u00e9 dans les clubs et les rues qu’il utilisait vraiment, le film re\u00e7oit en 1985 l’Oscar de la partition originale, un prix qui a l’air administratif \u00e0 c\u00f4t\u00e9 de ce que l’ann\u00e9e a fait sentir. L’album et le film ont occup\u00e9 le m\u00eame \u00e9t\u00e9. La pop, en 1984, pouvait encore \u00eatre une dispute locale jou\u00e9e pour tout le pays. The Kid apprend \u00e0 partager le cr\u00e9dit. La le\u00e7on est mi\u00e8vre. La musique qui la porte ne l’est pas. On sort en se souvenant de la guitare blanche plus que de la morale, ce qui est la fa\u00e7on dont la pop est cens\u00e9e faire passer ses morales.<\/p>\n

Les films suivants de Prince ont voulu r\u00e9p\u00e9ter le sortil\u00e8ge et ont d\u00e9couvert qu’un sortil\u00e8ge d\u00e9teste la r\u00e9p\u00e9tition. Purple Rain<\/em> reste parce qu’il a \u00e9t\u00e9 fait au moment o\u00f9 les chansons \u00e9taient plus grandes que l’histoire, et o\u00f9 l’histoire \u00e9tait assez humble, tout juste, pour s’\u00e9carter. Minneapolis a l’air petit. Le son, non. Un interpr\u00e8te qui ne faisait confiance \u00e0 personne \u00e9crit un film sur l’apprentissage de la confiance envers le groupe, et pendant deux heures on croit la le\u00e7on parce qu’on l’entend.<\/p>\n

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