{"id":9703,"date":"2021-09-01T19:00:00","date_gmt":"2021-09-01T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/wild-style\/"},"modified":"2026-11-09T07:12:45","modified_gmt":"2026-11-09T06:12:45","slug":"wild-style","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/films\/wild-style\/","title":{"rendered":"Wild Style"},"content":{"rendered":"

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Bronx 1982 : graffiti, breaks et hip-hop avant le produit<\/h3>\n

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Wild Style<\/em> a une intrigue mince et montre une culture qui n’avait pas encore de nom stable. Charlie Ahearn le tourne dans le Bronx au d\u00e9but des ann\u00e9es quatre-vingt et le sort en 1983, avec le graffeur Lee Qui\u00f1ones dans le r\u00f4le de Zoro, une version \u00e0 peine fictive de lui-m\u00eame dont le nom sur une rame est \u00e0 la fois signature et risque. Fab 5 Freddy, en Phade, circule entre trains, galeries et parcs avec le calme de quelqu’un qui sait d\u00e9j\u00e0 que cette chose n’a ni service ni rayon de label ni produit fini \u00e0 vendre. Le fil narratif est mince \u00e0 dessein. Ce qui remplit le cadre, ce sont quatre pratiques qui partagent un trottoir : writing, breaking, DJing et MCing.<\/p>\n

Hollywood allait bient\u00f4t emballer ce m\u00e9lange sous le nom de \u00ab hip hop \u00bb. Ici, c’est encore du travail. Grandmaster Flash, Busy Bee, les Cold Crush Brothers, Double Trouble et la Rock Steady Crew ne font pas de la figuration ; ils jouent. Les affrontements se font sans single radio sur lequel s’appuyer. Platines et carton par terre comptent autant que les r\u00e9pliques. Le final sous l’auvent, avec une foule qui conna\u00eet d\u00e9j\u00e0 les noms, ressemble moins \u00e0 un final pr\u00e9par\u00e9. Cette musique et cette danse appartiennent \u00e0 cet endroit. Ahearn vient du milieu des galeries de Manhattan et reste assez longtemps pour qu’on lui fasse confiance. Il garde la cam\u00e9ra \u00e0 hauteur des gens qui font la chose. Aucun narrateur ne traduit le Bronx pour un acheteur.<\/p>\n

Patti Astor et Lady Pink tirent d’autres pi\u00e8ces dans le film : la galerie qui veut l’art sans les trains, les graffeurs qui ne ponceront pas leurs lettres pour un mur blanc. Les r\u00e9pliques arrivent tard. Les blagues restent dans le cercle. Cette rugosit\u00e9 est ce que le film documente. Fait pour presque rien, Wild Style<\/em> n’a jamais eu le budget pour se transformer en le\u00e7on sur le r\u00eave am\u00e9ricain. Si un r\u00eave appara\u00eet ici, c’est un tag qui survit au prochain lavage de rame et une f\u00eate qui n’a pas besoin de l’accord d’un distributeur.<\/p>\n

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Wild Style est un classique culte, indiscutablement le film de hip hop le plus important, jamais.<\/p>\n<\/blockquote>\n

(David Mattin, BBC)<\/em><\/p>\n

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En moins de deux ans, l’industrie a remarqu\u00e9. Flashdance<\/em> avait d\u00e9j\u00e0 emprunt\u00e9 un freeze. Beat Street<\/em> et Breakin’<\/em> suivraient, plus brillants, plus s\u00fbrs, pens\u00e9s pour un centre commercial. En regardant le film d’Ahearn, le critique Richard Grabel se demandait si la post\u00e9rit\u00e9 le traiterait comme le The Harder They Come<\/em> du hip-hop : pas le r\u00e9cit le plus lisse, celui qui a encore l’air tourn\u00e9 dans la pi\u00e8ce. Il avait raison sur cette proximit\u00e9. On entend des crews se mesurer de pr\u00e8s, fiers et locaux. Fab 5 Freddy aide \u00e0 orienter la bande originale et la culture musicale \u00e0 l’\u00e9cran sans lisser ni l’une ni l’autre. Pour un auditeur, c’est la porte d’entr\u00e9e : pas un montage de tubes, mais des affrontements et des jams de parc, film\u00e9s avant que les contrats et les c\u00f4tes ne r\u00e9\u00e9crivent l’origine.<\/p>\n

Les histoires plus tardives commencent souvent par les disques et les cartes de charts. Wild Style<\/em> commence par une main sur une bombe et une aiguille sur un disque, dans une ville qu’on avait dite finie. Il est devenu un objet culte parce que la culture qu’il a capt\u00e9e est devenue mondiale tandis que le film restait pr\u00e9cis. Le Zoro de Qui\u00f1ones n’est pas un porte-parole ; c’est un ouvrier avec un style. Cela reste l’un des portraits les plus justes que le cin\u00e9ma ait donn\u00e9 de la naissance de cette musique : des gens qui occupent l’espace, avant que ce soit un genre avec un rayon \u00e0 remplir. On le regarde pour les visages et les murs. Les crews \u00e9taient d\u00e9j\u00e0 bruyants avant qu’on ne leur revende leur propre histoire.<\/p>\n

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