Quelques grands thèmes confèrent à sa pensée critique toute sa cohérence. Pour Bazin, l'origine photographique du film fonde la nouveauté et la fascination du cinéma. La photo est une sorte de duplicata — certes imparfait — du monde, un reflet pétrifié dans le temps à quoi le cinéma rend la vie : « Pour la première fois, l'image des choses est aussi celle de leur durée et comme la momie du changement. » Tout ce qui est filmé a été. Fasciné, Bazin parle du réalisme ontologique du cinéma. Il n'ignore pas toutefois que le réalisme n'est pas donné, qu'il est à faire. Dès 1944, il distingue le réalisme technique (photographique) du réalisme stylistique (forme et contenu). Si l'apport essentiel du cinéma est le réalisme, ce sentiment de réalité dont il persuade le spectateur, tout ce qui va à son encontre est suspect. Bazin rejette les morcellements du montage si propice aux trucages et aux manipulations et privilégie le plan en continuité et en profondeur de champ : le plan-séquence. Vers la fin des années 60, la critique gauchiste, dans une lecture réductrice et souvent sectaire, ne veut trouver chez Bazin qu'idéalisme bourgeois, naïvetés chrétiennes, obsessions, mysticisme, esprit de réaction. Pourtant, Bazin peut paraître le théoricien prophétique du cinéma différent : en libérant le plaisir des exigences dramaturgiques ; en impliquant le spectateur dans une relation active à l'écran ; en déliant l'espace et la durée des servitudes de l'anecdote.
BÉART (Emmanuelle)
actrice française (Saint-Tropez 1965).
Fille du chanteur-compositeur Guy Béart, elle débute au cinéma dans Demain les mômes (Jean Pourtalé, 1976), mais elle tourne peu jusqu'à Premiers désirs (David Hamilton, 1984) et Un amour interdit (Jean-Pierre Dougnac, id.). C'est Manon des Sources (C. Berri, 1986) qui la révèle au grand public et lui permet de mener habilement sa carrière en veillant à l'équilibre entre cinéma d'auteur et cinéma dit commercial : les Enfants du désordre (Y. Bellon, 1989), la Belle Noiseuse (J. Rivette, 1991), J'embrasse pas (A. Téchiné, id.), Un cœur en hiver (C. Sautet, 1992), l'Enfer (C. Chabrol, 1994), Une femme française (R. Wargnier, 1995), Nelly et M. Arnaud (C. Sautet, id.), Voleur de vie (Yves Angelo, 1998), le Temps retrouvé (R. Ruiz, 1999), les Destinées sentimentales (O. Assayas, 2000), la Répétition (Catherine Corsini, 2001).
BEATLES (les)
groupe de musique pop britannique, qui se produit en tant que tel de 1962 à 1970.
Il se compose de quatre musiciens originaires de Liverpool : Ringo Starr [Richard Starkey] (né en 1940), John Lennon (né en 1940 - New York, N. Y., 1980), Paul McCartney (né en 1942), George Harrisson (né en 1943). Acteurs dans Quatre Garçons dans le vent (1964) et Au secours ! (1965) de Richard Lester, Magical Mystery Tour, qu'ils réalisent eux-mêmes (1967), et Let It Be [DOC] de Michael Linsay Hogg (1970). Ils inspirent le dessin animé construit autour de leurs chansons : le Sous-Marin jaune, de George Dunning (1968). Chacun des membres joue par la suite dans divers films : Starr (Candy, Christian Marquand, id. ; 200 Motels, Franck Zappa, 1971), etc. ; Lennon (Comment j'ai gagné la guerre, R. Lester, 1967), Harrisson (The Concert for Bangla Desh, Paul Swimmer, 1972), Mc Cartney (Rendez-vous à Broad Street [Give My Regards to Broad Street], Peter Webb, 1984). Sous la direction de Lester, les Beatles donnent le meilleur d'eux-mêmes. C'est Lennon qui possède la personnalité la plus forte du groupe. Dès sa rencontre en 1966 avec l'artiste d'avant-garde Yoko Ono (qu'il épouse en 1969), il décide de prendre ses distances avec l'image que l'industrie donne de lui et de ses amis. Le couple réalise, entre 1969 et 1972, une quinzaine de films expérimentaux dont on peut retenir Imagine (1971), qui illustre, par une foule d'inventions plastiques, les morceaux de l'album du même nom. John Lennon est assassiné à New York en 1980.
Il débute en 1927 et s'affirme comme un grand spécialiste de l'époque edwardienne. On fera donc appel à lui pour habiller à l'écran des pièces d'Oscar Wilde, tel Un mari idéal (A. Korda, 1947). C'est un homme au goût irréprochable, mais dont le travail méticuleux a tendance à jouer les vedettes : si Vincente Minnelli (Gigi, 1958 ; Mélinda, 1970) a su le maîtriser, George Cukor (My Fair Lady, 1964) s'est, en revanche, laissé submerger par son invention envahissante.
BEATTY (Henry Warren Beaty, dit Warren)
acteur et cinéaste américain (Richmond, Va., 1937).
Frère cadet de l'actrice Shirley MacLaine, il poursuit des études à New York. Kazan lui confie, aux côtés de Natalie Wood, un rôle d'adolescent étouffé par les conventions, passionné, malheureux : la Fièvre dans le sang (1961). Puis il est le gigolo italien séduisant Vivien Leigh dans le Visage du plaisir (The Roman Spring of Mrs. Stone, id.), d'après T. Williams, seul film du metteur en scène de théâtre José Quintero. On voit en Beatty un successeur de Dean, de Brando. Son charme, sa jeunesse, une aura de solitude (Lilith de R. Rossen, 1964 ; Mickey One de A. Penn, 1965) compensent des tics pris à ces modèles. Sa composition de tueur psychopathe (Clyde Barrow), avec Faye Dunaway, dans Bonnie and Clyde (A. Penn, 1967) lui vaut l'Oscar du meilleur acteur. Il déclare alors prendre réellement conscience des exigences de son métier. Il affronte Liz Taylor dans Las Vegas... un couple (The Only Game in Town, G. Stevens, 1970), devient l'hirsute, inattendu et convaincant John McCabe d'Altman (1971) et enquête sur la mort d'un candidat à la présidence dans À cause d'un assassinat (A. J. Pakula, 1974). Il change de registre avec plus ou moins de bonheur, selon les cinéastes qui le dirigent. Il produit Shampoo (dont il est co-scénariste) et s'y donne un rôle frisant l'autodérision (H. Ashby, 1975). Avare de ses prestations, Beatty préfère peut-être la production et la réalisation : après le Ciel peut attendre (Heaven Can Wait, 1978), large succès public qu'il dirige, il réalise, en 1981, une ambitieuse biographie du journaliste communiste John Reed, qu'il interprète également : Reds, film dont la forme originale entremêle fiction et témoignages. En 1990, Dick Tracy prend pour héros le plus célèbre menton en galoche de l'histoire de la B.D. : le détective Dick Tracy ; Beatty y travaille l'aspect visuel en recherchant les équivalents des à-plats de la bande d'origine. En 1998, il réalise le corrosif Bulworth(id.), satire politique curieuse plus que vraiment réussie.
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