{"id":3014,"date":"2011-05-31T11:49:17","date_gmt":"2011-05-31T09:49:17","guid":{"rendered":"http:\/\/jameshorner-filmmusic.com\/fr\/?p=3014"},"modified":"2024-04-19T23:52:37","modified_gmt":"2024-04-19T21:52:37","slug":"lodyssee-musicale-de-natty-gann","status":"publish","type":"post","link":"http:\/\/jameshorner-filmmusic.com\/fr\/lodyssee-musicale-de-natty-gann\/","title":{"rendered":"L’ODYSS\u00c9E MUSICALE DE NATTY GANN"},"content":{"rendered":"
\n\tPar David Hocquet<\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tAvec l'aimable autoristaion de son auteur. Texte paru à l'origine sur le site Underscores.fr.<\/a> Lien vers l'article original sur Underscores.fr<\/a><\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tAttendue depuis un quart de siècle, la partition de James Horner<\/span> pour la production Disney<\/a> The Journey Of Natty Gann<\/strong><\/a> (Natty Gann) est enfin disponible grâce au travail du remarquable éditeur Intrada. Sorti en 1985, ce film qui tient une place à part dans le canon cinématographique de la compagnie de Mickey fait partie des expériences que le studio tente à l’époque pour sortir des sentiers battus, au même titre que l’étrange Dragonslayer<\/strong> (Le Dragon du Lac de Feu). Croisement heureux entre l’univers de la misère sociale à<\/a> la Steinbeck et le mythe du Loup proche de James Oliver Curwood ou de Jack London, ce film a marqué les esprits pour ses interprètes talentueux, excellemment dirigés. Le fameux Jed, chien-loup star, a par ailleurs incarné Croc Blanc dans l’adaptation qu’en fera Disney<\/a> en 1991 sous la férule de Randall Kleiser. Pour parvenir à une telle réussite,<\/A> ils font appel à un cinéaste discret mais talentueux, ayant réussi dans le passé à traiter des sujets délicats avec classicisme et humanisme, sans racolage : Jeremy Paul Kagan. Je renvoie d’ailleurs aux quelques mots élogieux du dictionnaire du cinéma américain de Tavernier \/ Coursodon à propos du cinéaste et de ce film.<\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tJames Horner<\/span> remplace pour la musique Elmer Bernstein<\/span>, premier choix du cinéaste (encore ce goût pour le classicisme non ostentatoire) pour apporter au film une Disney<\/a> touch<\/em>, le transfert ayant déjà fonctionné sur Something Wicked This Way Comes<\/strong><\/a> (La Foire des Ténèbres) de Jack Clayton, sur lequel le compositeur avait remplacé Georges Delerue.<\/span><\/span>\n<\/div>\n
\n\tHorner ne fait pas regretter le travail de Bernstein grâce à sa capacité à trouver des motifs mélodiques et des couleurs instrumentales pouvant formidablement incarner une lecture «magique» du film, moins réaliste certainement que la vision originelle de Bernstein. Un style faussement naïf qui lui a d’ailleurs permis d’œuvrer avec succès dans l’animation. Arunadiler<\/a> . A noter cependant qu’un très court morceau de Bernstein a survécu dans le film, lorsque Natty s’échappe du pick-up conduit par un vieux vicelard ne lui voulant pas que du bien.<\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tLes motifs mélodiques sont tous exposés dans le générique du film. Tout d’abord celui du lien affectif (père\/fille, Natty\/le loup, Natty\/Harry) par la section des vents, qui est transformé et développé ensuite comme thème de l’aventure par l’orchestre, sur une rythmique de guitares et de dulcimer. Une variation vient ponctuer ce développement avant la conclusion sur le motif initial. Ce thème de l’aventure, bondissant, serait certainement à rapprocher des danses celtiques, d’un fond musical à l’origine du folklore américain et qui accompagne parfaitement ce voyage initiatique aux accents de légende, que l’on pourrait sans cesse raconter le soir au coin du feu, «comment l’intrépide Natty Gann, aidée de son ami le loup et de Harry, a retrouvé son père, parti loin dans la forêt, en bravant tous les dangers».<\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tMusicalement, certaines scènes ressortent tout particulièrement, comme le Main Title<\/em>, véritable ouverture, Freight Train<\/em> (dont la fanfare annonce celle de l’épisode Alamo Jobe<\/em> de la série Amazing Stories<\/strong><\/a>), ou encore la deuxième moitié de Riding The Rails<\/em>, cavalcade orchestrale excitante accompagnée du piano qui annonce les poursuites dans les couloirs d’Aliens<\/strong><\/a>, et le très émouvant final. Variation sur un matériau emprunté à Benjamin Britten (l’aube de Peter Grimes<\/em>, premier des Sea Interludes<\/em> joués comme suite de concert), les appels de la flûte de The Forest<\/em> (qui annoncent d’ailleurs une autre scène de lien «magique» à la forêt dans The Spitfire Grill<\/strong><\/a>) et l’étrange sonorité du shakuhachi donnent à la rencontre entre Natty et le Loup un caractère quasi-féérique.<\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tL’orchestration est également une clé du succès du score : en effet, James Horner<\/span> n’hésite pas à utiliser des timbres rares pour ajouter à une lecture merveilleuse (la flûte à bec, le shakuhachi de Kazu Matsui<\/a> qu’il utilisera abondamment dans sa carrière) en plus de cordes chatoyantes, élégiaques, proches de Vaughan Williams. Le jeu de guitare solo annonce déjà, quant à lui, la sentimentalité de Cocoon<\/strong><\/a>. La lecture americana<\/em>, essentielle chez Bernstein, n’est pas en reste cependant, comme touche historique et géographique, à la fois pour l’utilisation de l’harmonica (instrument que joue John Cusack dans le film) et l’évocation ironique du Rodéo<\/em> de Copland lorsque Natty Gann rencontre le gang des jeune voleurs orphelins dans une bourgade, et surtout lors de la scène du vol de taureau qu’ils organisent (Into Town<\/em> et Rustling<\/em>).<\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tL’album présente l’essentiel de la partition dans une séquence conçue pour l’écoute. Une très belle réussite discographique pour un petit film d’exception.<\/span><\/span>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Par David Hocquet   Avec l'aimable autoristaion de son auteur. Texte paru à l'origine sur le site Underscores.fr. Lien vers […]<\/p>\n","protected":false},"author":4,"featured_media":3035,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[5],"tags":[99,188,268,404],"class_list":["post-3014","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analyses","tag-david-hocquet","tag-james-horner","tag-natty-gann","tag-walt-disney-studios"],"yoast_head":"\nL'ODYSS\u00c9E MUSICALE DE NATTY GANN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/jameshorner-filmmusic.com\/fr\/lodyssee-musicale-de-natty-gann\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'ODYSS\u00c9E MUSICALE DE NATTY GANN\" \/>\n<meta property=\"og:description\" content=\"Par David Hocquet   Avec l'aimable autoristaion de son auteur. 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