{"id":9727,"date":"2026-01-10T09:00:00","date_gmt":"2026-01-10T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/dont-look-back\/"},"modified":"2026-01-10T09:00:00","modified_gmt":"2026-01-10T08:00:00","slug":"dont-look-back","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/dont-look-back\/","title":{"rendered":"Don’t Look Back"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Une cam\u00e9ra dans le couloir<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Le film s’ouvre dans une ruelle, avec des pancartes et une chanson qui refuse de rester en place. Don’t Look Back<\/em> de D. A. Pennebaker, sorti en 1967, suit la tourn\u00e9e anglaise de Bob Dylan en 1965, acoustique, rapide, d\u00e9j\u00e0 impatient du r\u00f4le de proph\u00e8te folk. Il n’y a pas de narrateur. Il y a \u00e0 peine un plan. Pennebaker reste dans le couloir, la voiture, la loge, et laisse les concerts arriver comme du travail plut\u00f4t que comme des miracles. Le titre vient d’une ligne de She Belongs to Me<\/em>. L’image lui ob\u00e9it. Elle ne se retourne pas pour expliquer le gar\u00e7on qui a \u00e9crit les chansons. Elle reste avec l’homme qui en a assez qu’on le lui demande.<\/p>\n

Allen Ginsberg et Bob Neuwirth tra\u00eenent dans cette ruelle d’ouverture pendant que Dylan l\u00e2che les cartons de Subterranean Homesick Blues<\/em>, une blague qui est aussi un manifeste : les mots peuvent \u00eatre brandis puis jet\u00e9s. Au Savoy, Joan Baez chante pendant que Dylan tape \u00e0 la machine, deux carri\u00e8res dans la m\u00eame pi\u00e8ce et qui ne partagent plus d’avenir. Albert Grossman, le manager, marchande dans les encadrements de portes. Un journaliste de Time re\u00e7oit une audience et apprend qu’une audience n’est pas une confession. Dylan est dr\u00f4le, cruel, accul\u00e9, brillant. Le film ne le range pas en porte-parole. Le folk, en 1965, croyait encore le poss\u00e9der. Il passe la tourn\u00e9e \u00e0 rendre la propri\u00e9t\u00e9.<\/p>\n

Ce que le film n’est pas, et cela compte, c’est la rupture \u00e9lectrique de l’ann\u00e9e suivante. Le cri de Judas appartient \u00e0 1966, \u00e0 une autre tourn\u00e9e, un autre film. Don’t Look Back<\/em> est le dernier long regard sur le circuit acoustique, quand les chansons \u00e9taient d\u00e9j\u00e0 plus \u00e9tranges que le contrat des coffeehouses et que les foules n’avaient pas encore d\u00e9cid\u00e9 de se sentir trahies. On entend The Times They Are a-Changin’<\/em>, To Ramona<\/em>, It’s All Over Now, Baby Blue<\/em>, non comme une compilation mais comme des nuits de travail. Le grain du 16 mm noir et blanc n’est pas un style coll\u00e9 apr\u00e8s coup. C’est la pellicule qui pouvait survivre \u00e0 ces couloirs.<\/p>\n

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\n

Elle a tout ce qu’il lui faut, c’est une artiste, elle ne se retourne pas.<\/p>\n<\/blockquote>\n

(Bob Dylan, She Belongs to Me, 1965)<\/em><\/p>\n

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Le cin\u00e9ma direct, nom qu’on a plus tard \u00e9pingl\u00e9 \u00e0 cette m\u00e9thode, peut sonner comme une th\u00e9orie. \u00c0 l’\u00e9cran c’est une suite de d\u00e9cisions \u00e9thiques : pas de plateau d’entretien, pas de nappe musicale sous un sentiment, pas de coupe qui dit qui aimer. Pennebaker avait d\u00e9j\u00e0 film\u00e9 des interpr\u00e8tes. Avec Dylan il a trouv\u00e9 un sujet qui jouait m\u00eame quand il refusait de jouer. Les conf\u00e9rences de presse sont des chansons. Les bouderies sont des chansons. La gentillesse, quand elle para\u00eet, est br\u00e8ve et donc croyable. La country et le folk, sur un site comme celui-ci, sont souvent l’\u00e9tag\u00e8re calme. Ce film est la preuve bruyante que le calme \u00e9tait une pose dont les autres avaient plus besoin que lui.<\/p>\n

Des d\u00e9cennies de biographie ont ajout\u00e9 des motifs, des femmes, des drogues, la moto, le sous-sol. Don’t Look Back<\/em> n’en a pas besoin. C’est le document d’un printemps o\u00f9 un auteur de chansons \u00e9tait le causeur le plus int\u00e9ressant de n’importe quelle pi\u00e8ce et en avait assez de la pi\u00e8ce. Les pancartes tombent. La ruelle reste. Dylan regarde par la vitre d’une voiture une ville qui veut un message, et le film, fid\u00e8le \u00e0 son titre, ne se retourne pas pour en fournir un.<\/p>\n

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