Alors que l'industrie cinématographique s'organise, que les scénarios sont plus élaborés et qu'apparaît le Film d'Art, Méliès poursuit sa production artisanale, utilisant trop souvent l'illusion comme une fin en soi, et sans jamais parvenir à prendre de distance avec les conventions théâtrales ; irrésistiblement, le novateur devient anachronique. Très importante jusqu'en 1919, sa production s'arrêtera. Entre 1911 et 1913, il réalisera ses derniers films pour Pathé, dont le célèbre À la conquête du pôle. La Star-Film en faillite, Méliès créera à Montreuil le théâtre des Variétés artistiques, qu'il animera avec sa famille pendant la guerre et jusqu'en 1923. Définitivement ruiné, oublié, il ouvrira une boutique de jouets deux ans plus tard, dans la gare Montparnasse. « Vers 1928, les journalistes le découvrirent, le sacrèrent précurseur et poète. On organisa un gala pour l'ancêtre, on le décora, le plaça dans une assez médiocre maison de retraite, le château d'Orly, en 1932 » (G. Sadoul). Il mourut le 21 janvier 1938 à l'hôpital Léopold-Bellan.
Homme charnière entre le théâtre et le cinéma, novateur infatigable, Georges Méliès a pourtant été démodé, puis oublié. Mais, sans conteste, il restera l'inventeur du cinéma de divertissement. À son propos, Guillaume Apollinaire déclara : « Monsieur Méliès et moi faisons à peu près le même métier : nous enchantons la matière vulgaire. »
Films.
Plus de 500 films sont répertoriés, dont, en 1896 : Une partie de cartes ; Séance de prestidigitation ; Une bonne farce de chiffonnier ; Salut malencontreux d'un déserteur ; Place de la Bastille ; le Manoir du diable ; Escamotage d'une dame chez Robert-Houdin ; 1897 : Chicot, dentiste américain ; le Cortège du bœuf gras passant place de la Concorde ; le Malade imaginaire ; l'Hallucination de l'alchimiste ; Combat naval en Grèce ; le Cabinet de Méphistophélès ; 1898 : Magie diabolique ; Illusions fantasmagoriques ; Un homme de tête ; 1899 : Funérailles de Félix Faure ; Christ marchant sur les flots ; 1901 : le Petit Chaperon rouge ; la Danseuse microscopique ; 1902 : Éruption volcanique à la Martinique ; le Voyage dans la Lune ; 1903 : le Cake-walk infernal ; Faust aux enfers ; Un miracle sous l'Inquisition ; la Dame fantôme ; le Mélomane ; le Chaudron infernal ; 1905 : les Cartes vivantes ; 1906 : le Maestro Do Mi Sol Do ; les Bulles de savon animées ; les Quatre Cents Farces du Diable ; 1907 : Vingt Mille Lieues sous les mers ; 1908 : le Génie du feu ; la Fée Libellule ; 1909 : la Poupée vivante ; Hydrothérapie fantastique ; 1911 : les Hallucinations du baron de Münchhausen ; 1912 : Cendrillon ; À la conquête du pôle.
MÉLIÈS (PRIX),
distinction cinématographique française portant le nom du célèbre cinéaste. Depuis 1947, les critiques adhérents de l'Association française de la critique de cinéma (devenue en 1981 Syndicat français de la critique de cinéma) couronnent chaque année, au terme d'un vote par correspondance, le meilleur film français ou de coproduction française. Palmarès : voir annexes.
MELKI (Claude)
acteur français (Saint-Denis 1940 - Paris 1994).
Le nom de cet acteur, mélange de titi parisien timide et de Buster Keaton, est associé aux films de réalisateurs sensibles à sa silhouette et à son jeu intériorisé, comme Luc Moullet (Brigitte et Brigitte, 1966), Pierre Granier-Defferre (le Grand Dadais, 1967), Claude Berri (le Pistonné, 1970), Franck Cassenti (Salut voleurs !, 1973), Fernando Solanas (Tangos, l'exil de Gardel, 1985), M. Lakhdar Hamina (la Dernière Image, 1989). Il a surtout été l'acteur fétiche de Jean-Daniel Pollet, qui l'a utilisé en totale complicité populiste dans ses premiers essais (Pourvu qu'on ait l'ivresse, 1957 ; Gala, 1961, le sketch la Porte Saint-Denis de Paris vu par..., 1964), et qui lui a donné deux grands rôles, celui d'un petit tailleur sentimental (L'amour c'est gai, l'amour c'est triste, 1968) et celui d'un garçon de bains qui se métamorphose en virtuose du tango (l'Acrobate, 1976).
Elle crée à la scène la célèbre Violetera, chanson qui fit le tour du monde et eut l'honneur d'être orchestrée par Chaplin, dans les Lumières de la ville. Elle débute à l'écran dans une « espagnolade », la Gitane blanche (Los arlequines de seda y oro, R. de Baños, 1919), mais la célébrité lui vient surtout grâce à plusieurs films d'Henry Roussell : les Opprimés (1923, RÉ 1922), la Terre promise (1924) et Violettes impériales (1924 et 1932, versions muette puis parlante), ainsi que de la Carmen (1926) de Jacques Feyder, bien que les rapports avec ce dernier aient été plutôt orageux. Henri Fescourt voulut faire d'elle, en 1948, une sainte Thérèse d'Ávila, mais le projet avorta. Sarah Bernhardt voyait en Raquel Meller « toutes les phases d'un cœur qui passe de la joie à la douleur, du calme à la terreur, de la vie à la mort ».
MELLOR (William C.)
chef opérateur américain (1903 - Hollywood, Ca., 1963).
Il travaille pour la Paramount, comme cameraman, puis pour les différents studios, et devient chef opérateur en 1934. Il a une prédilection pour George Stevens et William Wellman, dont il traduit très bien le sens de l'espace, les rapports ombre et lumière ; mais il est capable de traiter un monde aussi oppressant que celui d'Anne Franck, ou le climat d'un Fleischer que le lyrisme de l'Ouest. Mellor a obtenu deux Academy Awards : pour Une place au soleil (Stevens, 1951) et pour le Journal d'Anne Franck (id., 1959). Parmi ses meilleurs films : Au-delà du Missouri (W. Wellman, 1951) ; Convoi de femmes (id., id.) ; l'Appât (A. Mann, 1953) ; Géant (Stevens, 1956) ; le Génie du mal (R. Fleischer, 1959) et Drame dans un miroir (id., 1960).
MELVILLE (Jean-Pierre Grumbach, dit Jean-Pierre)
cinéaste français (Paris 1917 - id. 1973).
Auteur singulier, auteur complet d'une douzaine de films, Melville occupe une place unique dans le cinéma français. Par sa formation et par ses goûts d'abord : il a appris le cinéma en autodidacte fortuné qu'il est, jouant dans son enfance avec une caméra Pathé-Baby (il avait six ans) ou avec un projecteur miniature, ce qui lui a permis de voir et de revoir les classiques du burlesque muet. Adolescent, il passait ses journées au cinéma et se nourrissait de la production américaine : âgé, il aimait à citer la liste des soixante-trois réalisateurs qui composaient son panthéon personnel, tous américains, tous confirmés entre 1930 et 1937. Avec un quart de siècle d'avance, Melville s'était voulu metteur en scène comme les jeunes gens qui feront la Nouvelle Vague. Celle-ci tentera d'ailleurs de se l'annexer, dans le rôle d'un parrain ou d'un garant (Godard lui a fait interpréter le personnage du romancier Parvulesco dans À bout de souffle), mais le regard de l'auteur du Doulos sur les films des jeunes ambitieux de 1960 sera plus sarcastique que paternel.
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