{"id":9697,"date":"2022-04-28T16:00:00","date_gmt":"2022-04-28T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/super-fly\/"},"modified":"2026-11-09T07:13:01","modified_gmt":"2026-11-09T06:13:01","slug":"super-fly","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/films\/super-fly\/","title":{"rendered":"Super Fly"},"content":{"rendered":"

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Curtis Mayfield met en musique le fantasme de sortie d’un dealer harl\u00e9mito<\/h3>\n

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Youngblood Priest veut encore un coup, puis une vie qui n’en ait plus besoin. Super Fly<\/em> de Gordon Parks Jr., sorti \u00e0 l’\u00e9t\u00e9 1972, suit Ron O’Neal \u00e0 travers Harlem dans un long manteau et une Cadillac que la cam\u00e9ra traite comme une part du personnage. L’intrigue est le vieux fantasme de sortie : un coup, puis dehors. Ce qui fait tenir le film, ce n’est pas le fantasme de sortie tout seul. C’est l’\u00e9cart entre les images, qui aiment les v\u00eatements et la voiture. Les chansons de Curtis Mayfield ne les c\u00e9l\u00e8brent pas.<\/p>\n

Mayfield a \u00e9crit Little Child Runnin’ Wild<\/em>, Pusherman<\/em>, Freddie’s Dead<\/em> et Superfly<\/em> comme s’il avait \u00e9t\u00e9 engag\u00e9 pour un autre film, un film o\u00f9 le manteau ne gagne pas. La ligne de basse avertit plus qu’elle ne c\u00e9l\u00e8bre. Elle n’accompagne pas le coup. Freddie’s Dead<\/em> est un enterrement men\u00e9 \u00e0 un tempo o\u00f9 l’on peut danser. Un tempo de danse sous un enterrement, c’est le geste pour lequel on retient la partition. L’album est arriv\u00e9 avec le film et, pour beaucoup d’auditeurs, a surv\u00e9cu \u00e0 l’intrigue. On peut conna\u00eetre le visage de Priest sur une affiche et avoir appris l’histoire sur le disque, o\u00f9 le dealer n’est pas un h\u00e9ros et o\u00f9 l’enfant du titre n’est pas un accessoire.<\/p>\n

Parks Jr., fils du photographe et cin\u00e9aste Gordon Parks, filme le quartier comme un lieu o\u00f9 le style est une fa\u00e7on de traverser la journ\u00e9e. Sheila Frazier, Carl Lee, la rue elle-m\u00eame : personne n’est pri\u00e9 de r\u00e9citer un slogan. Ce refus a irrit\u00e9 ceux qui voulaient que le cin\u00e9ma noir soit une salle de classe. Junius Griffin, de la NAACP d’Hollywood, a entendu un r\u00e9gime de prox\u00e9n\u00e8tes et de dealers et l’a dit en public. Il nommait un vrai danger. Il manquait aussi l’argument que Mayfield avait d\u00e9j\u00e0 mis sur bande. Le film glamourise un homme qui tente de partir. Les chansons d\u00e9crivent ce que co\u00fbtent le d\u00e9part et qui paie quand ils ne sont pas dans la Cadillac.<\/p>\n

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Nous devons exiger que nos enfants ne soient pas expos\u00e9s \u00e0 un r\u00e9gime permanent de soi-disant films noirs qui glorifient les hommes noirs en prox\u00e9n\u00e8tes, dealers, gangsters et super-m\u00e2les.<\/p>\n<\/blockquote>\n

(Junius Griffin, Hollywood NAACP, 1972)<\/em><\/p>\n

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Super Fly<\/em> est devenu le plus gros succ\u00e8s de sa vague blaxploitation, puis un mod\u00e8le qu’Hollywood a adouci en suites et imitations plus s\u00fbres. La derni\u00e8re marche de Priest reste l’image que l’on cite. Une ligne de Mayfield, chant\u00e9e presque doucement, est la citation qui reste. La m\u00e9lodie porte la mauvaise nouvelle. La soul, en 1972, n’\u00e9tait pas seulement d\u00e9votion et romance. Elle pouvait rapporter les nouvelles sur un rythme de danse, sans attendre une salle silencieuse. Parks filme le manteau et la Cadillac. Les chansons de Mayfield disent ce que cette vie co\u00fbte et qui la paie.<\/p>\n

Un demi-si\u00e8cle plus tard, le film se regarde de deux fa\u00e7ons \u00e0 la fois. Le cool \u00e0 l’\u00e9cran est r\u00e9el et il est local. L’avertissement est dans les chansons, parce que Mayfield n’aurait pas \u00e9crit une c\u00e9l\u00e9bration. Pour les fans de musique, le premier arr\u00eat est l’album : Pusherman<\/em>, Freddie’s Dead<\/em>, le titre \u00e9ponyme, la guitare wah-wah et l’avertissement dans les m\u00eames chansons. Entre les images et les chansons, Super Fly<\/em> se dispute encore avec lui-m\u00eame. Mayfield a \u00e9crit comme si le public pouvait tenir cette contradiction le temps d’un album. Les chansons laissent cette contradiction audible sur le disque.<\/p>\n

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Super Fly de Gordon Parks Jr. (1972) couple le plan de sortie d’un dealer harl\u00e9mito aux chansons de Curtis Mayfield, qui ne c\u00e9l\u00e8brent pas le trafic.<\/p>\n","protected":false},"author":1,"featured_media":9693,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[287,291],"tags":[1132,539],"class_list":["post-9697","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chroniques","category-films","tag-curtis-mayfield-fr","tag-soul-rb-fr","post_format-post-format-video"],"yoast_head":"\nSuper Fly - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Super Fly de Gordon Parks Jr. (1972) couple le plan de sortie d'un dealer harl\u00e9mito aux chansons de Curtis Mayfield, qui ne c\u00e9l\u00e8brent pas le trafic.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/films\/super-fly\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Super Fly - 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