[Critique] SPECTRE de Sam Mendes (2015)

007-spectre-james-bond-daniel-craig-banner-banniere-movie-poster

NOTE : 5 / 10

« It was me, James. The author of all your pain. »
***
– (attention, légers spoilers) –
Bond, James Bond. La légende, le mythe, l’archétype, l’une des plus grandes figures du cinéma populaire. Des années 60 jusqu’à nos jours, 007 n’aura cessé de mourir puis renaître, toujours sous les traits d’un acteur différent, dans des films de qualités variables, parfois brillants, parfois tout juste divertissants, mais créant décennie après décennie cette inégalable mythologie « bondienne ».
1$_V?_Job NameEt voilà maintenant 10 ans que l’agent britannique sillonne nos écrans de cinéma dans la peau du comédien Daniel Craig, plus violent, plus réaliste et surtout plus humain, fort d’une série de films recentrés sur les origines du personnage. Pourtant, si ce retour aux sources se poursuit dans ce vingt-quatrième épisode, réintroduisant dans le récit la plus ancienne menace de la franchise, JAMES BOND – SPECTRE ne peut échapper à l’inévitable : l’épuisement de la formule, la fin d’un cycle.
Car aujourd’hui, sous la direction de Sam Mendes, réalisateur du précédent et magnifique Skyfall, l’agent 007 montre bel et bien des signes de faiblesse.
***
WaltzOubliée depuis « Rien que pour vos yeux » en 1981, avec Roger Moore et Carole Bouquet, la terrifiante organisation criminelle « Spectre » fait ici son grand retour, n’omettant ni les chats persans blancs ni les repères secrets et mystérieux, plaçant à sa tête l’étrange Oberhauser, incarné par le comédien Christoph Waltz. Récemment désavoué par le MI6, Bond se retrouve ainsi seul contre une corporation tentaculaire dont les plans diaboliques menacent la sécurité du monde entier, forcément.
Spectre poursuit la redéfinition du personnage de Bond instaurée depuis Casino Royale (2006), ses origines, son ascension au sein des services secrets et cette fois, ses fantômes, allant jusqu’à lier le destin de son nouvel ennemi à un niveau plus intime et personnel que jamais. Et lorsque le numéro un du Spectre apparait pour la première fois, c’est avec humour et virtuosité que le réalisateur introduit de manière iconique l’antagoniste diabolique… la promesse d’un grand film.
Pourtant, la finalité de l’organisation, comme de son cruel leader, apparaît rapidement grotesque. Autrefois déterminé à dominer la planète entière, prêt à déclencher l’holocauste nucléaire en plein affrontement Amérique / URSS pour assouvir sa soif de pouvoir, le Spectre représentait la menace absolue, tapi dans l’ombre, attendant patiemment son heure, l’expression d’un mal tout puissant à la determination sans faille et aux ressources inépuisables. Mais curieusement, le numéro un du Spectre version 2016 semble n’avoir pour seule ambition que de mener la vie dure à l’espion légendaire, faisant crapahuter Bond dans un bâtiment en ruine pour sauver sa bien aimée ou lançant à ses trousses un colosse mutique sous-exploité.
Pire encore, le film tente de justifier son intrigue en greffant de manière complètement artificielle les péripéties passées aux manigances actuelles d’Oberhauser. « C’était moi depuis le début » pour faire simple.
***
Ce James Bond 24 est un modèle de paresse et de facilité, sombrant bien vite dans la parodie de sa propre mythologie, à grand renfort de scènes stéréotypées, histoire d’entretenir l’intérêt du spectateur. La formule ronronne, sans jamais surprendre ni innover. Et si la direction de Sam Mendes renoue par moments avec le redoutable sens de l’action et du divertissement dont il faisait preuve en 2012 dernier, notamment lors de cette fameuse scène d’introduction au Mexique, l’ensemble n’en reste pas moins terriblement mollasson et vide. Quand la somptueuse photographie de Roger Deakins sublimait la moindre scène de Skyfall, les images de Spectre, signées Hoyte van Hoytema, manquent cruellement de panache. D’ailleurs, les acteurs eux-mêmes semblent contaminés par l’ennui et la morosité ambiante.
LéaDaniel Craig traverse le film tel un automate, dissimulant à peine son ennui et son manque d’implication émotionnelle. Christoph Waltz, dont l’apparition s’annonçait alléchante verse en fin de compte dans son habituel cabotinage, ne pouvant donner corps seul à un personnage dont la profondeur se révèle vite limitée. Quant à notre Léa Seydoux nationale… Clin d’oeil à Carole Bouquet, dernière française à s’être confrontée au Spectre ? Erreur de casting ? Impératif commercial ? Son avatar, la jeune Madeleine Swann, véritable mystère d’écriture, au caractère toujours changeant et aux motivations floues, inconsistante et totalement dénuée d’intérêt, démultiplie par sa seule présence la pauvreté générale – l’expressivité sommaire de l’actrice n’arrangeant rien.
***
Spectacle classique et sans saveur, aventure paresseuse de presque trois heures, SPECTRE rejoint les rangs des productions bondiennes les plus faibles, le kitch ringard et attachant d’un Roger Moore en moins, ne facilitant pas son éventuel re-visionnage une fois sorti dans le commerce. La seconde incursion de Sam Mendes dans la vie de l’espion 007 sera sans doute vite oubliée, probablement même balayée par ses successeurs, qui redéfiniront une fois de plus les codes et l’esprit de la série, forts d’un nouvel acteur et d’une nouvelle époque. Et si l’épopée Daniel Craig touche sans conteste à sa fin et si ce quatrième épisode se révèle mineur, en fin de compte, à l’échelle de la série toute entière, que cela représente-t-il ? Car si acteurs et réalisateurs se succèdent, si les films sont tour à tour exceptionnels ou communs, peu importe. James Bond lui, ne meurt jamais.
[Toutes les news sur le film : ici, ici, ici, iciici et ici]
Réalisé par  Sam Mendes (Avec Daniel Craig, Christoph Waltz, Ralph Fiennes, Naomie Harris, Ben Whishaw, David Bautista, Monica Bellucci, Léa Seydoux). Long métrage : Américain, Britannique. Genre: Espionnage. Durée: 148mn. Année de production: 2014. Distributeur: Sony Pictures / MGM. Sortie : 11 novembre 2015.

Images : © Sony Pictures / MGM

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