Réalisation:
Garth DavisScénario:
Luke DaviesPhotographie:
Greig FraserActeurs·trices:
Dev Patel, Sunny Pawar, Priyanka Bose, Tannishtha Chatterjee, Nawazuddin Siddiqui, Deepti Naval, David Wenham, Nicole Kidman, Todd Sampson (plus)VOD (3)
Résumés(1)
Une incroyable histoire vraie : à 5 ans, Saroo se retrouve seul dans un train traversant l'Inde qui l'emmène malgré lui à des milliers de kilomètres de sa famille. Perdu, le petit garçon doit apprendre à survivre seul dans l'immense ville de Calcutta. Après des mois d'errance, il est recueilli dans un orphelinat et adopté par un couple d'Australiens. 25 ans plus tard, Saroo est devenu un véritable Australien, mais il pense toujours à sa famille en Inde. Armé de quelques rares souvenirs et d'une inébranlable détermination, il commence à parcourir des photos satellites sur Google Earth, dans l'espoir de reconnaître son village. Mais peut-on imaginer retrouver une simple famille dans un pays d'un milliard d'habitants ? (SND)
(plus)Critiques (9)
Un premier tiers captivant avec le talentueux Sunny Pawar perdu. Ce garçon est en route pour Hollywood, un enfant acteur si photogénique et talentueux n'y apparaît qu'une fois par décennie. Cependant, le développement ultérieur du film souffre d'un récit chaotique, causant des incohérences entre la cause et l'effet, et en fin de compte, le film s'épuise en essorant les émotions du spectateur de manière laborieuse et directe.
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Un récit beau et touchant qui m’a arraché des larmes. Parmi tous les films nominés aux Oscars, j’ai laissé celui-ci pour la fin et, avec Manchester by the Sea et Tu ne tueras point, c’est le seul dont la nomination est légitime. Une histoire captivante sur un voyage éprouvant et une prestation remarquable de la part de Dev Patel et Nicole Kidman. Triste, très triste.
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Beaucoup qualifieront probablement ce film de drame superficiel et calculateur, mais peu importe. Il se trouve que je suis ravie d’avoir eu besoin, pour la première fois depuis longtemps, d’un mouchoir en papier pour essuyer un flot de larmes. La musique et la cinématographie méritent certainement des éloges, tout comme le réalisateur lui-même, dont il s’agit du premier long métrage. Faire un film basé sur une histoire vraie est toujours un défi : un réalisateur doit respecter cette histoire, mais en même temps tourner un film pour le public... Ce n’est pas une tâche facile et je pense que Davis s’en est bien sorti. Cependant, je ne comprends pas vraiment les nominations aux Oscars cette année. Je ne dis pas que Dev Patel et Nicole Kidman étaient mauvais, mais le petit Sunny Pawar les a littéralement écrasés tous les deux. Pawar est une petite merveille et une vraie découverte pour moi. En termes de talents d’acteur chez un enfant, je le place au même niveau qu’Onata Aprile (What Maisie Knew) et Jacob Tremblay (Room). Ces trois-là ont réussi à m’émouvoir davantage que leurs homologues adultes... La première moitié du film m’a déchiré le cœur, on se rend compte du monde différent dans lequel on vit, et surtout je n’arrêtais pas de me dire : « Bon sang, tu n’aurais pas pu rester sur ce banc ? »
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The first half, set in India, is almost worthy of a full rating, it makes you realise how spoiled and pampered our Western civilisation is, with all the packed supermarkets, hygiene standards and plenty of drinking water. The Indian realities are fantastically rendered here, last seen so impressively in a Hollywood studio film 9 years ago in Slumdog Millionaire. Unfortunately, the rest of the film is a drawn out thing that could have been told in 10 minutes, while emotionally it only slightly touched me. It’s a shame, the potential was there. This film is proof of what masters the Weinstein brothers are at promoting their films in the pre-Oscars season, the boys are able to push it beautifully with academics and journalists, the nominations are out of whack.
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If I think about it, this movie has the most beautiful premise of all those movies nominated for an Oscar. You see, it shows that the existence of the Western world sometimes really does make sense. I feel sorry that the first half of the movie with the Indian lead role is much nicer and better than the other half. Dev Patel, even though he is a very good actor, put into the movie a whole number of questions and misunderstood moments, which is not say that I have to understand those, but he simply didn’t convince me to actually root for him. Sunny Pawar was probably the best child actor I have ever seen and scenes involving him were a pure balm for the soul. I must say that it’s been quite long sice I had two opinions about a single movie that are so strongly influenced by the acting performance in the lead role. But as a whole, I do agree that Lion is a huge movie and it’s beautiful to see that even stories like these can have a happy ending.
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I wasn't sure about the one-sided focus on pitying orphaned or abandoned Indian children, but when the motives increase with each passing minute, it turns into a whole different story. Saroo is not only searching for family and answers, but also himself, and in the portrayal by a seasoned Dev Patel, I believe him in this role to the very last minute. When combined with Nicole Kidman's well-received dramatic comeback, this year's academic underdog becomes a surprisingly ambitious piece, easily surpassing some of the overly obvious favorites.
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Dev Patel has come a long way from the nerdy from the slum, Rooney Mara surprised us with her civility, and Nicole Kidman reaffirmed her skill and the weight of her stardom, which very often provides a compass to quality cinematic experiences. I took a deep breath and slowly returned to the roots of my love for Indian cinema, inspired by a series of dramas in the same vein as Lion. If you're not indifferent to pathos and consider the story to be the center of the film narrative, you've come to the right place.
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Whether you like it or not, a heart string press based on actual events is its own category, too, and within that category Lion doesn't deliver anything downright tasteless or silly. That's mostly due to the focus on the cheerless conditions in India, especially if you're a kid who's sick of permanent rape, and especially the almost documentary-like cinematography of this magically chaotic landscape. The camera also helps, which spends the first act skillfully scanning the surroundings, often from the position of the five-year-old protagonist, or following him almost neorealistically through the clutter of the city from afar. The actual searches and the visually depicted emotional bonding became a little yawn-inducing, but I think that's mostly due to the more challenging empathetic connection of a white, contented bastard from central Europe (me, that is) who has little in common with an Indian adopted orphan. I don't blame the stroking of the wall and the melancholy soaking in water at all, and if I did, every five minutes of Rooney Mara is a funfair for me.
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For me, Dev Patel is one of the very interesting and talented young actors. The Indian environment interests me because it is different, because it is both beautiful and dark in its poverty. Both aspects came together beautifully in Lion, where you wish for the finale, even though you know it won't come without a cost. A very intense film, and I mean that in a good way.
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Annonces