{"id":9715,"date":"2026-06-27T11:00:00","date_gmt":"2026-06-27T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/this-is-spinal-tap\/"},"modified":"2026-06-27T11:00:00","modified_gmt":"2026-06-27T09:00:00","slug":"this-is-spinal-tap","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/this-is-spinal-tap\/","title":{"rendered":"This Is Spinal Tap"},"content":{"rendered":"

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Un volume qui n’existe pas<\/h3>\n

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Marty DiBergi arrive avec un carnet et le visage s\u00e9rieux d’un homme qui croit filmer un vrai groupe. This Is Spinal Tap<\/em> de Rob Reiner, sorti en 1984, suit un groupe britannique de heavy metal dans une tourn\u00e9e am\u00e9ricaine qui r\u00e9tr\u00e9cit en avan\u00e7ant. Le Nigel Tufnel de Christopher Guest, le David St. Hubbins de Michael McKean et le Derek Smalls de Harry Shearer improvisent l’essentiel de ce qu’ils disent, ce qui donne \u00e0 la b\u00eatise la texture d’un souvenir. Personne ne cligne assez fort pour casser l’objectif. La blague d\u00e9pend d’une cam\u00e9ra qui fait semblant de les respecter.<\/p>\n

Les gags sont devenus du folklore, sort \u00e9trange pour un film sur le folklore. Un ampli dont les chiffres vont jusqu’\u00e0 onze. Un accessoire de Stonehenge livr\u00e9 en pouces au lieu de pieds. Une pochette, Smell the Glove<\/em>, n\u00e9goci\u00e9e jusqu’au noir sur noir. Une procession de batteurs qui ne survivent pas au poste. Big Bottom<\/em> et Hell Hole<\/em> sont ridicules et, si l’on s’est tenu pr\u00e8s d’une certaine sc\u00e8ne, pas assez ridicules. Les chansons ont \u00e9t\u00e9 \u00e9crites pour \u00eatre mauvaises d’une fa\u00e7on pr\u00e9cise : trois accords, un mythe, un entrejambe, un bourdon. La grandeur du metal et sa paperasse sont le m\u00eame animal. Le film vous laisse voir les deux dans la m\u00eame loge.<\/p>\n

Ce qui l’emp\u00eache d’\u00eatre un sketch, c’est l’affection. Guest, McKean et Shearer connaissent la fa\u00e7on dont un guitariste touche un manche quand il est nerveux, la fa\u00e7on dont un chanteur explique une parole qui n’a pas d’explication, la fa\u00e7on dont un manager promet une salle qui a d\u00e9j\u00e0 annul\u00e9. Le DiBergi de Reiner est le substitut du public et aussi la maladie : le documentaire qui flatte un groupe jusqu’\u00e0 ce qu’il croie sa propre presse. Quand les concerts rapetissent, la croyance non. C’est la note triste sous le rire, et la raison pour laquelle les musiciens citent encore le film comme s’il avait tourn\u00e9 avec eux.<\/p>\n

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This Is Spinal Tap est l’un des films les plus dr\u00f4les, les plus intelligents, les plus originaux de l’ann\u00e9e.<\/p>\n<\/blockquote>\n

(Roger Ebert, Chicago Sun-Times, 1985)<\/em><\/p>\n

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Ebert, quand le film a trouv\u00e9 son public plus large, l’a appel\u00e9 l’un des plus dr\u00f4les de l’ann\u00e9e, et il pensait \u00e0 l’intelligence autant qu’aux chutes. Les faux documentaires plus tardifs ont emprunt\u00e9 la forme et souvent manqu\u00e9 l’oreille. Spinal Tap fonctionne parce que la musique est presque bonne. Si les riffs n’\u00e9taient qu’une parodie, la tourn\u00e9e serait un dessin. Parce qu’ils convainquent presque, les salles vides sont humiliantes. Le culte du volume, du cuir et du destin dans le hard rock est examin\u00e9 par des gens qui auraient pu s’y joindre. Ils ont choisi, \u00e0 la place, de retourner les retours.<\/p>\n

Le groupe, bien s\u00fbr, s’est \u00e9chapp\u00e9 du film et est devenu une vraie formation de tourn\u00e9e, ce qui est la blague finale et une sorte de preuve. Une fiction assez pr\u00e9cise se fait embaucher par le monde qu’elle moquait. This Is Spinal Tap<\/em> reste le film musical qui a appris au public \u00e0 entendre la pause avant qu’un guitariste dise quelque chose qu’il croit profond. La pause est le portrait. Onze n’est que le chiffre peint sur le bouton.<\/p>\n

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