Drole D Oiseaux Critique Essay

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Belle et peu confiante en elle, Mavie, jeune provinciale, a débarqué à Paris pour « pren­dre de l'air ». Logée sur le canapé d'une amie (Virginie Ledoyen) dont elle entend, chaque nuit, les ébats amoureux, cette demoiselle née à Rochefort se jette donc sur une petite annonce manuscrite, dans un café du 5e arrondissement : « Offre studio en échange de quelques heures de permanence. S'adresser à la Librairie des Blés verts, rue de la Montagne-Sainte-Geneviève »... Et c'est ainsi que Mavie entre dans l'existence de Georges, libraire de trois fois son âge, élégant et misanthrope comme un héros de roman. Mais il arrive que trop d'années séparent ceux qui sont faits pour s'aimer...

Dans son premier film, Belleville Tokyo, il y a six ans, avec Valérie Donzelli et Jérémie Elkaïm, Elise Girard racontait un amour qui finissait mal. Avec ces deux Drôles d'oiseaux-là, il ne peut même pas commencer. La jeune réalisatrice filme alors ce beau couple platonique comme une rêverie, avec des mots en voix off et des déambulations que n'auraient pas reniées ses (grands-)pères de la Nouvelle Vague. Même si, justement, en leur temps, Truffaut ou Rivette le manquèrent, Jean Sorel trouve, grâce à Elise Girard, un de ses plus beaux rôles : un homme qui porte un secret, à la beauté et au mystère immuables... Au milieu de cartons même pas déballés de livres de Marguerite Duras, de tas de paperasse et de vieux journaux, Mavie va finir par découvrir son passé... italien, et en devenir complice. Grâce au grand chef opérateur Renato Berta, Paris redevient cette ville lumière, de jour comme de nuit, avec ses ponts, ses quais et ses vieilles façades d'immeubles d'éternelle capitale de cinéma. Godard est là, aussi, dans des instants fugaces et burlesques : des mouettes, soudain, s'écrasent sur le pavé. « Elles en ont marre ? » demande Mavie. En fuyant, une dernière fois, Georges permettra à la jeune femme de s'envoler. Et reste le charme de ce film, pas si volatil... — Guillemette Odicino

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