{"id":9733,"date":"2026-04-04T16:00:00","date_gmt":"2026-04-04T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/round-midnight\/"},"modified":"2026-04-04T16:00:00","modified_gmt":"2026-04-04T14:00:00","slug":"round-midnight","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/round-midnight\/","title":{"rendered":"Round Midnight"},"content":{"rendered":"

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Un saxophone dans une chambre parisienne<\/h3>\n

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Dale Turner parle lentement, comme si la phrase suivante devait traverser une pi\u00e8ce avant de pouvoir \u00eatre dite. Round Midnight<\/em> de Bertrand Tavernier, sorti en 1986, demande \u00e0 Dexter Gordon de jouer un saxophoniste fictif dans le Paris de 1959, un homme compos\u00e9 de Lester Young, de Bud Powell et du propre son long de Gordon. Fran\u00e7ois Cluzet est Francis, un admirateur fran\u00e7ais qui entend les d\u00e9g\u00e2ts et offre quand m\u00eame un petit appartement. L’intrigue est une amiti\u00e9. Le sujet est ce que co\u00fbte une nuit de travail quand le travail est le jazz et que le corps a d\u00e9j\u00e0 donn\u00e9 trop de nuits.<\/p>\n

Gordon n’\u00e9tait pas acteur de m\u00e9tier, ce qui explique qu’on ne puisse pas copier le jeu. Il joue de son propre instrument. Il laisse les silences s’asseoir. Il porte le chapeau, les lunettes et la fatigue sans en faire des accessoires. Herbie Hancock a \u00e9crit la musique et en a re\u00e7u l’Oscar, cas rare d’un prix qui tombe sur une musique devant servir de climat, non de signal pour les larmes. Dans le club que le film appelle le Blue Note, Hancock, Billy Higgins, Bobby Hutcherson et les autres ne miment pas une section rythmique. Ils en sont une. La cam\u00e9ra reste assez longtemps pour qu’on entende un solo d\u00e9cider o\u00f9 il va. Lonette McKee passe, en ancien amour, un souvenir avec une voix.<\/p>\n

Tavernier, Fran\u00e7ais amoureux des films am\u00e9ricains, refuse la romance habituelle de l’expatri\u00e9. Paris n’est pas une r\u00e9compense pour avoir souffert aux \u00c9tats-Unis. C’est une pi\u00e8ce plus petite, une marche plus froide, un public qui \u00e9coute et un m\u00e9tier qui paie toujours mal. La d\u00e9votion de Francis est touchante et un peu avide. Il veut sauver Dale et il veut \u00eatre pr\u00e8s de la musique, et le film laisse les deux motifs debout. Le titre est la ballade de Thelonious Monk, fa\u00e7on de dire que la tristesse \u00e9tait d\u00e9j\u00e0 dans le r\u00e9pertoire avant qu’on \u00e9crive ce sc\u00e9nario. Gordon, nomm\u00e9 pour le meilleur acteur, porte la nomination comme il porte une phrase : sans presser la fin.<\/p>\n

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\n

C’est un musicien, pas un acteur, et pourtant aucun acteur n’aurait pu donner ce jeu, avec sa dignit\u00e9, sa sagesse et sa douleur.<\/p>\n<\/blockquote>\n

(Roger Ebert, Chicago Sun-Times, 1986)<\/em><\/p>\n

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Les films de jazz trichent souvent en coupant le jeu jusqu’\u00e0 une fioriture. Celui-ci fait confiance au public pour regarder des hommes travailler. Le blues et le jazz, rang\u00e9s ensemble sur un site comme celui-ci, partagent cette \u00e9thique : le temps est l’instrument. Round Midnight<\/em> comprend qu’une ballade n’est pas une pause dans la soir\u00e9e. Elle est la soir\u00e9e. Quand Dale l\u00e8ve le saxophone, l’histoire recule poliment. On est reconnaissant. Les biopics de la m\u00eame d\u00e9cennie voulaient la confession et l’effondrement sur un horaire. Tavernier voulait le son d’un homme qui ne s’est pas encore effondr\u00e9, qui pourrait, et qui est, pendant ces mesures, exact.<\/p>\n

Le film finit comme finit un set, pas comme finit une morale. Quelqu’un a \u00e9t\u00e9 entendu. Quelqu’un a \u00e9t\u00e9 chang\u00e9 par l’\u00e9coute, ce qui n’est pas la m\u00eame chose que d’\u00eatre rachet\u00e9. Gordon est mort quelques ann\u00e9es plus tard, et le jeu est devenu une derni\u00e8re pi\u00e8ce o\u00f9 l’on peut encore entrer. Round Midnight<\/em> reste le film musical qui traite un solo comme un \u00e9v\u00e9nement dramatique \u00e9gal \u00e0 un baiser ou \u00e0 un coup. Au Blue Note, sous une enseigne lisible, un saxophoniste finit une phrase commenc\u00e9e avant le film. La lumi\u00e8re de l’appartement reste allum\u00e9e un peu plus longtemps qu’il ne faut. Cette minute de trop est la tendresse.<\/p>\n

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