00:00The Bride, c'est la très inattendue adaptation de la fiancée de Frankenstein par Maggie Gyllenhaal.
00:07La réalisatrice a transformé le classique de James Wall en un film un peu dingue qui mélange les genres, les
00:13styles, les thèmes,
00:14passant de l'horreur au film de gangsters avec un petit détour du côté de la comédie musicale et de
00:20l'engagement féministe.
00:22Jessie Buckley, très bientôt oscarisée pour Amnette et la fiancée du titre,
00:27tandis que Christian Bell joue le monstre de Frankenstein, désespérément à la recherche de l'âme sœur.
00:33Le film n'est pas parfait, mais il est franchement étonnant, jamais vu, un peu ailleurs et du coup très
00:38intéressant,
00:39à tel point qu'on a été jusqu'à Londres pour en discuter avec sa réalisatrice.
00:51You know, I saw the original Bride of Frankenstein.
00:56I didn't know what to expect, and, you know, she doesn't, she's in the movie for two minutes,
01:03the character of the bride, and she doesn't speak one word.
01:06And it made me curious.
01:10Like, what about her?
01:12What does she have to say?
01:15What's in there?
01:16I mean, Elsa Lanchester, in that original movie, is formidable and punk and kind of radical,
01:25but you don't get to hear from her, really.
01:27And I kind of, I started to go like, okay, wait, what if we really did give her a voice?
01:33What would happen?
01:36I think in 1935, I know that maybe there was a director or two that were women, but almost no
01:43one.
01:43If you were a storyteller, if you loved cinema and you were a woman, for most of the last century,
01:52you were an actress.
01:53And so there are a lot of actresses that have a point of view, that have a powerful point of
02:00view,
02:00that figure out a way to get it into the film.
02:02I don't think that the original James Whale, Bride of Frankenstein, is interested in her perspective.
02:08But I'm interested in it, and she gives me a little peek into it.
02:12And that comes from her.
02:14I am a monster.
02:18Yeah, so am I.
02:21You're doing something that's really, really difficult in the film.
02:24It's to find a balance between all the genre that the movie is in.
02:28I don't really believe in genre.
02:34I think the movies that are the most exciting to me, like I was just talking about Trainspotting.
02:41I was talking about Eternal Sunshine of the Spotless Mind.
02:43Or think about one battle after another.
02:45What genre is that?
02:47If the idea is to open your mind to the world, to share something in my mind with the world,
02:55why can I only use one genre in order to do it?
02:58Especially if women have not been offered the opportunity to help define cinematic language
03:08until very, very recently.
03:10Maybe we need to mix a few genres to get at our perspective.
03:14I certainly felt like I did.
03:15I need a bit of humor here.
03:17I need thriller here.
03:18I definitely need some horror here.
03:20I need a love story here.
03:21But my job as the director is then to take all of those tools, all of those incredible languages
03:31and walk tightrope with them and stay on the tightrope.
03:36Un film donc sur le fil du rasoir qui est dans vos salles depuis mercredi.
03:41Et si jamais ça marche bien, il pourrait y avoir une suite.
03:43Du coup, je me lance.
03:45Ok, I heard that Jesse may not be free for the bride too.
03:47So do you think I have a chance?
03:49Let me see.
03:49Yeah.
03:51Yeah, yeah.
03:52Yeah.
03:53I'll call you.
03:55I'll call you.
03:56Yeah.
03:56Okay?
03:56You want my number?
03:57I can't keep...
03:57I will call you.
03:58Yeah.
03:59I'm ready, you know?
04:00Just leave this with me.
04:06Une semaine après cette interview, j'attends toujours le coup de fil de Maggie.
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