{"id":9697,"date":"2025-10-04T11:00:00","date_gmt":"2025-10-04T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/super-fly\/"},"modified":"2025-10-04T11:00:00","modified_gmt":"2025-10-04T09:00:00","slug":"super-fly","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/super-fly\/","title":{"rendered":"Super Fly"},"content":{"rendered":"

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Un sermon sous le vernis<\/h3>\n

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Youngblood Priest veut un dernier coup, puis une vie qui n’exige plus de coup. Super Fly<\/em> de Gordon Parks Jr., sorti \u00e0 l’\u00e9t\u00e9 1972, suit Ron O’Neal dans Harlem, dans un manteau qui se photographie comme une armure et une Cadillac qui se photographie comme une th\u00e8se. L’intrigue est le vieux fantasme de la sortie : un gros coup, puis dehors. Ce qui fait tenir le film n’est pas le fantasme. C’est la friction entre les images, qui aiment la surface, et les chansons de Curtis Mayfield, qui la refusent.<\/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 une autre musique de film, une o\u00f9 le manteau ne gagne pas. La basse ne c\u00e9l\u00e8bre pas. Elle pr\u00e9vient. Freddie’s Dead<\/em> est un enterrement march\u00e9 \u00e0 un tempo sur lequel on peut danser, le tour le plus cruel et le plus honn\u00eate de la partition. L’album est arriv\u00e9 avec le film et, pour beaucoup d’oreilles, a surv\u00e9cu \u00e0 l’intrigue. On peut conna\u00eetre le visage de Priest par une affiche et avoir quand m\u00eame appris l’histoire par le disque, o\u00f9 le dealer n’est pas un h\u00e9ros et o\u00f9 l’enfant n’est pas un accessoire.<\/p>\n

Parks Jr., fils du photographe et cin\u00e9aste Gordon Parks, filme le quartier comme un endroit o\u00f9 le style est une forme d’abri. Sheila Frazier, Carl Lee, la rue elle-m\u00eame : personne n’est pri\u00e9 de tenir lieu de slogan. Ce refus a f\u00e2ch\u00e9 ceux qui voulaient que le cin\u00e9ma noir soit une salle de classe. Junius Griffin, de la NAACP \u00e0 Hollywood, a entendu une di\u00e8te de prox\u00e9n\u00e8tes et de dealers, et l’a dit. 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 essaie de partir. Les chansons d\u00e9crivent ce que partir co\u00fbte, et celui qui paie n’est pas dans la Cadillac.<\/p>\n

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Nous devons exiger que nos enfants ne soient pas expos\u00e9s \u00e0 une di\u00e8te continue de soi-disant films noirs qui glorifient les hommes noirs en prox\u00e9n\u00e8tes, dealers, gangsters et surm\u00e2les.<\/p>\n<\/blockquote>\n

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

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Super Fly<\/em> est devenu le plus gros succ\u00e8s de sa vague, puis un mod\u00e8le qu’Hollywood a ponc\u00e9 en suites et en copies plus s\u00fbres. La derni\u00e8re marche de Priest est encore l’image que l’on cite. La meilleure citation est une ligne de Mayfield chant\u00e9e presque doucement, ce qui est la fa\u00e7on dont les mauvaises nouvelles voyagent quand elles veulent qu’on s’en souvienne. La soul, en 1972, n’\u00e9tait pas seulement d\u00e9votion et romance. Elle pouvait \u00eatre un reportage avec un groove, un sermon qui n’attendait pas que l’assembl\u00e9e s’assoie. Parks vous donne le manteau. Mayfield vous dit de quoi le manteau est fait.<\/p>\n

Un demi-si\u00e8cle plus tard, on regarde l’image de deux fa\u00e7ons \u00e0 la fois, ce qui est la bonne fa\u00e7on. On voit le cool, parce que le cool est r\u00e9el, gagn\u00e9, local. On entend l’avertissement, parce que Mayfield n’aurait pas sign\u00e9 une c\u00e9l\u00e9bration. Entre ces deux pistes, Super Fly<\/em> reste un objet culte qui se dispute avec lui-m\u00eame en public. Peu de films de crime s’en donnent la peine. Celui-ci avait un compositeur qui pensait que le public pouvait tenir une contradiction le temps d’un album, et il avait raison.<\/p>\n

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