Les Maîtres du Temps

C’est en lisant les articles de Snowcrash (Anime-Kun) sur le bilan des dix dernières années, surtout son 3ème article consacré à l’animation française, que j’ai eu l’idée de ressortir mes souvenirs de séries et de films d’animation de ma jeunesse. Pour ceux qui l’ignoreraient encore, cela signifie un plongeon jusqu’aux années 80, hein. J’ai vaguement pensé faire une synthèse de cet âge préhistorique, mais en y réfléchissant bien, la matière est trop disparate, et si peu abondante… Imaginez : ça remonte à avant Kirikou et la Sorcière, et des longs métrages français d’animation, il en sortait en moyenne un par an. Et encore, pas tous les ans (à peine 7 films dans les années 90, plus de 40 dans les années 2000). Quant aux séries qui m’ont marqué, je les compte sur les doigts d’une main : Il était une fois l’homme, Il était une fois l’espace, Ulysse 31, Capitaine Flam, Les Mystérieuses Cités d’Or, et… et c’est tout. Notez, c’était peut-être prémonitoire, que trois parmi les cinq étaient des co-productions franco-japonaises… Oui, c’était vraiment la préhistoire, et les « dessin-nimés » comme je les appelais quand j’étais enfant, c’était avant tout des trucs américains, des Hanna-Barbera, des Warner Bros, et puis les premiers Goldorak et Candy, mais ça vous le savez déjà… Bref, pas de quoi faire un dossier.

A la place, je vous propose un focus sur un film, le seul film français d’animation de l’époque qui soit un space-opera, qui m’a vraiment marqué, et qui me semble digne d’être vu par des fans de japanimation d’aujourd’hui : Les Maîtres du Temps.

L’Histoire

Sur la planète Perdide, un buggy roule à tombeau ouvert pour fuir une attaque de frelons géants. A son bord, le petit Piel, et son père, qui lance un SOS désespéré à son vieil ami Jaffar. Le buggy file vers la forêt des Dolongues, seul endroit où ils peuvent se mettre à l’abri, quand survient l’accident. Se sachant condamné, le père demande à Piel de courir vers la forêt, muni de ce seul viatique : un microphone en forme d’oeuf surnommé « Mike ». Sans comprendre, Piel s’exécute, et emporte Mike, cet étrange oeuf qui parle.

De l’autre côté du micro, Jaffar, impuissant, a compris le drame. Il parle à Piel en disant qu’il est Mike, et lui donne toutes les instructions pour survivre et se cacher. Jaffar est un contrebandier, il se trouve à des années-lumières de Piel, et il transporte un couple de fugitifs, le Prince Maton et la princesse Belle. Plus tard, ils embarquent Sylbad, un vieux baroudeur, ami de longue date de Jaffar. Tandis que le vaisseau de Jaffar file vers Perdide, ils vont chacun à leur tour jouer le rôle de Mike, afin de soutenir, consoler et guider Piel, seul perdu sur une planète hostile. Mais ont-ils chacun des intentions pures ? Combien de temps Piel pourra-t-il tenir?

Un projet ambitieux et difficile

Ce long-métrage, sorti en 1982, visait un public jeune et adulte, que l’on pourrait qualifier de seinen, si cela a un sens pour un film français. En tous cas, il se démarque nettement de ce qui se faisait à l’époque, c’est-à-dire essentiellement des adaptations de bandes dessinées jeunesse (La Ballade des Dalton, la Flûte à Six Schtroumpfs, Les 12 Travaux d’Astérix…). L’unique précédent d’un long-métrage français d’animation à la fois adulte et grand public était déjà l’oeuvre du même réalisateur : René Laloux. C’était la Planète Sauvage, en 1973, avec les dessins si particuliers de Roland Topor, et la musique planante du jazzman Alain Goraguer. Bien que le film reçut le prix spécial du jury à Cannes, et un solide succès public, il fallut presque 10 ans à René Laloux pour réussir à monter un nouveau film.

Le projet initial, ambitieux, consistait à réaliser une série de téléfilms de science-fiction confiés chacun à un des fondateurs de Metal Hurlant, le magazine de BD culte de cette époque (image ci-contre à droite). Druillet, Caza, Giger, Jodorowsky devaient y participer. Finalement, seul le film impliquant Moebius au dessin réussit à voir le jour, avec l’auteur de polars non moins cultes Jean-Patrick Manchette au dialogues. Faute de structures et surtout d’argent, c’est une fois de plus dans les pays de l’est, en Hongrie cette fois, que René Laloux trouve une équipe de production capable de suivre le projet et de respecter le budget. Le résultat, unique en son genre, m’a vraiment marqué. Je me souviens qu’à sa sortie – j’avais 12 ans – j’avais été complètement fasciné par l’extrait promotionnel : celui où Piel, l’enfant perdu, rencontre un « Ouin-ouin », cette espèce d’animal « moëbiusoïde » qui gobe des fruits avec sa trompe, dans la forêt de Perdide… Forêt qui n’est pas sans rappeler celle de Nausicaa, mais ça, je ne pouvais encore pas le savoir… Il y avait aussi les scènes avec Jad et Yula, les petits gnomes volants, et celles, totalement flippantes, avec les archanges sans visage… J’ai longtemps fantasmé sur ce film, car je n’ai pas réussi à le voir tout de suite, il m’a fallu attendre un peu pour le découvrir dans un cinoche parisien, vers 14 ou 15 ans je crois.

Quoi qu’il en soit, Les Maîtres du Temps était un ovni, un choc pour un adolescent qui n’avait jamais vu d’animation autre que les « dessin-nimés » de son enfance, et qui découvrait à peine le space-opera, à travers AlbatorStar Wars et les albums de Valérian et Laureline. Les Maîtres du Temps apportait de l’air frais, un vent nouveau, mais… ce fut sans lendemain. Les Maîtres du Temps ne fut pas le précurseur d’une nouvelle vague d’animation à la française, et il n’y eut pas d’équivalent cinéma à Metal Hurlant. Moebius travailla sur d’autres projets, dont Tron, et René Laloux ne devait réussir à monter son troisième (et dernier) long métrage qu’en 1987, Gandahar, avec les dessins de Caza.

Récemment, avec ma nouvelle passion pour l’anime japonais, j’ai ressorti les Maîtres du Temps pour le remettre dans mon lecteur DVD, avec un mélange de curiosité et d’appréhension. Le film n’allait-il pas me décevoir, en comparaison avec tant de nouvelles découvertes?

Un film… hors du temps

Alors oui, c’est sûr, les habitués des films de space-opéra bourrés d’effets spéciaux, de 3D et de scènes d’action spectaculaires pourront être un peu déçus. Alors qu’au contraire, à l’époque, il m’avait autant fasciné par son scénario malin ( avec un twist final sur le paradoxe temporel), que par ses dessins futuristes (vaisseaux spatiaux, robots, extra-terrestres…). Par les personnages aussi, enfin surtout le petit Piel, adorable, et le vieux Sylbad, beaucoup plus proches qu’il n’y paraît…

Le scénario des Maîtres du Temps se base, comme la Planète Sauvage, sur un roman de Stefan Wul, auteur français de science-fiction surtout célèbre pour son roman post-apocalyptique Niourk. L’histoire originale a cependant été sérieusement remaniée, le duo Laloux/Moebius trouvant la fin décevante. Leurs principaux apports sont l’épisode de « la Pensée pure », passage mystico-philosophique assez typé années 70/80, mais joliment réalisé, avec la création flippante des archanges sans visage. La fin est également changée, avec l’intervention des fameux « Maîtres du temps », qui donne à l’ensemble une dimension supplémentaire, mystérieuse et pleine de possibilités. Cette fin, bien que définitive, laisse entrevoir des développements qui restent à écrire, grâce à la cohérence qu’elle donne à l’ensemble. S’il fallait prouver que le scénario tient bien la route, un seul indice suffit : le fait que chaque fois que je regarde les Maîtres du Temps, je me laisse avoir par la fin…

Les dessins et l’animation ont, par moments, franchement vieilli. Cela s’explique par les conditions de la production, délocalisée en Hongrie pour des raison budgétaires. Bien qu’entièrement basé sur les superbes dessins de production de Moebius, décors, personnages et animation souffrent d’une grande inégalité de qualité. Par moments, c’est absolument magnifique (les séquences animées avec les gnomes, avec les « ouin-ouins », avec les frelons, et toutes les scènes avec Piel) et cela supporte largement la comparaison avec les meilleures 2D d’aujourd’hui ; à d’autres moments, c’est  saccadé, raide, sans relief. J’ai souri lors de la scène « érotique » de baignade dans le bassin de Devil’s Ball, tant pour sa réalisation, maladroite, que pour sa totale inutilité par rapport à l’intrigue. Je comprendrais qu’on puisse également reprocher des baisses de rythme, mais personnellement ce point ne me dérange pas. Le film est ponctué de scènes zen, contemplatives, souvent oniriques et d’une grande poésie. Ce sont d’ailleurs, sans surprise, les mêmes scènes que je cite plus haut comme les mieux animées… Et puis, il y a la fin, vraiment belle, touchante, que je vous laisse découvrir, un moment à la fois simple, grandiose, et poignant.

Autre point qui a pas mal contribué à « dater » (comme s’il en avait besoin) le film : la musique au synthétiseur. Totalement années 80, je lui trouve un charme vintage assez plaisant, mais je comprendrais qu’elle insupporte. Après tout, ce fut aussi mon époque

Finalement, avec les années, je trouve que Les Maîtres du Temps a bien vieilli. C’est sûr, ce film ne déchire pas sa race comme bien des nouveautés en sont capables. Mais le charme naît aussi de cela : un côté vintage de la forme, en plus d’une bonne histoire. Est-ce qu’un remake vaudrait le coup? Je ne dis pas non, c’est à voir. Mais pour moi, ce film est plus qu’une date de l’histoire de l’animation : un vrai bon film, qui mérite d’être vu et revu. Je le recommande notamment aux amateurs de Nausicaa.

Allez, pour finir, la bande-annonce (d’époque!).

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168 Responses to Les Maîtres du Temps

  1. Pingback: L’Oeuf De L’Ange | Les chroniques d'un newbie

  2. Kaeru says:

    J’ai vu ce film quand je devais avoir une dizaine d’année… ca m’a bien traumatisée (moins que Dark Cristal vu à 6 ans). Il est dans ma dvdthèque depuis des lustres et là, tu me donnes envie de m’y coller :)

    … même si je vais commencer par mater Madoka dont on m’a vanter les mérites :P

    Très bel article !

  3. Tata says:

    Le nom me fait penser (je sais que cela fait monomaniaque) à la série Doctor Who, avec son personnage principal, le Docteur, qui est un Maître du temps. Il y a des épisodes de la nouvelle série de 2005 avec des anges ailés sans visage.

  4. Pingback: Moebius, Gir et Jean Giraud sont morts. | Les chroniques d'un newbie

  5. Gemini says:

    Enfin regardé. Ce n’est pas mon premier film du réalisateur puisque j’ai déjà vu Gandahar, mais j’ai vraiment découvert un magnifique dessin-animé. Dessins, musique, certaines séquences d’animation, et bien entendu scénario, j’ai vraiment accroché. Un film qui mériterait d’être redécouvert par une nouvelle génération, sans aucun doute.

  6. Soninha says:

    enfin!! des années que je recherche le titre et les images de ce film vu enfant… et qui m’a surement déterminée plus que je ne peux encore le réaliser! merci pour l’article, les souvenirs et l’attachement… vite, le revoir

  7. Tom says:

    « Les Maîtres du temps » est le dessin animé qui a frappé ma conscience d’enfant.
    Le paradoxe temporel révélé à la fin n’y est pas pour rien. Par certains aspects, oui, il a vieilli. Par d’autres, ce film est inaltérable. Personnellement, la 3D, qui cherche a singer le réel, me parait horriblement artificielle. Quelquechose ne passe pas à l’oeil, en particulier dans les mouvements des personnages. Je préfère toujours un beau tracé à une 3D insipide et sans âme.

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