Résumés
Abstract
This article aims to explain how Clint Eastwood constructs his main male character in his film The Bridges of MadisonCounty (1995), Robert Kincaid, as a clear precursor of the new masculinity and, therefore, how he enables the viewer to connect with him (and the story) on an emotional level. This feeling man is particularly visible in a memorable scene almost at the end of the film, in which the minimalist look of the character prevails, when, in the pouring rain, he walks towards Francesca (Meryl Streep), who is sitting and who remains seated, in her husband’s truck. This scene is one of the most daring of Eastwood’s career, as Kincaid is literally drenched in rain, emotionally drained and all glamour has definitely been washed out of his image. Applying the analytical method of a qualitative and interpretative nature to its analysis, this article will explain how, in order to achieve this fragility and sensitivity (culturally feminine attributes), Eastwood’s performance goes beyond the confines of the script to explore the realm of emotions as an effective way of giving richness and depth to the character, leading him inevitably to discover what he really feels for someone, in this case his beloved Francesca.
Résumé
Cet article vise à expliquer comment Clint Eastwood construit le personnage masculin principal, Robert Kincaid, dans son film The Bridges of Madison County (1995) comme un précurseur manifeste de la nouvelle masculinité et, par conséquent, comment il permet au spectateur de se connecter avec lui (et avec l’histoire) sur le plan émotionnel. Cet homme sensible est particulièrement visible dans une scène mémorable presque à la fin du film, dans laquelle prévaut l’allure minimaliste du personnage, lorsque, sous une pluie battante, il se dirige vers Francesca (Meryl Streep) qui est assise, et qui reste assise, dans le camion de son mari. Cette scène est l’une des plus audacieuses de la carrière d’Eastwood, car Kincaid est littéralement détrempé par la pluie, épuisé émotionnellement, et tout glamour a définitivement été effacé de son image. En appliquant à son analyse la méthode analytique de nature qualitative et interprétative, cet article expliquera comment, afin d’atteindre cette fragilité et cette sensibilité (attributs culturellement féminins), la performance d’Eastwood dépasse les limites du scénario pour explorer le domaine des émotions comme une manière efficace de donner richesse et profondeur au personnage, l’amenant inévitablement à découvrir ce qu’il ressent vraiment pour quelqu’un, en l’occurrence sa bien-aimée Francesca.
Parties annexes
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