Je vais voir le film très bientôt et je suis habituellement réfractaire à la grande importance qu'on confère à la vie privée dans des films qui traitent d'hommes ou de femmes politiques. Mon approche est biaisée, mais je préfère généralement qu'on m'explique ou que me montre les "ficelles" du système ou des décisions. J'ai hâte de voir comment je vais réagir au film de Clint Eastwood (que j'aime beaucoup comme acteur et comme réalisateur!) qui accorde une bonne place à la relation entre Hoover et Clyde Tolson, son compagnon et adjoint. Était-ce plus que de l'amitié? Si la relation, et la réponse à la question, sert le film, j'embraque, sinon je ne vois pas l'intérêt...
"Later, Tolson applies for a job at the F.B.I. and is eagerly hired by Hoover, inaugurating a bond that became the subject of titters but that Mr. Eastwood conveys matter-of-factly, without either condescension or sentimentality. Before long Tolson is helping Hoover buy his suits and straightening his collar, and the two are dining, vacationing and policing in lock step. Tolson becomes the moon over Hoover’s shoulder, a source of light in the shadows. Even the ashcan colors and chiaroscuro lighting brighten. In these scenes Mr. Hammer gives Tolson a teasing smile and the naked face of a man in love. Mr. DiCaprio, by contrast, beautifully puts across the idea that the sexually inexperienced Hoover, while enlivened by the friendship, may not have initially grasped the meaning of its depth of feeling.
Mr. Eastwood does, and it’s his handling of Hoover and Tolson’s relationship that, as much as the late-act revelation of the pathological extent of Hoover’s dissembling, lifts the film from the usual biopic blahs. Mr. Eastwood doesn’t just shift between Hoover’s past and present, his intimate life and popular persona, he also puts them into dialectic play, showing repeatedly how each informed the other. In one stunning sequence he cuts between anonymous F.B.I. agents surreptitiously bugging a bedroom (that of the Rev. Dr. Martin Luther King Jr., a resonant, haunting presence seen and heard elliptically and on TV) and Tolson and Hoover walking and then standing alone side by side in an elevator in a tight, depthless, frontally centered shot that makes it look as if they were lying together in bed.
Although Hoover and Tolson’s closeness was habitual grist for the gossip mill, the lack of concrete evidence about their relationship means that the film effectively outs them. Certainly a case for outing Hoover, especially, can be made, both because he was a public figure who, to some, was a monster and destroyer of lives, and because he was a possibly gay man who hounded homosexuals (and banned them from the F.B.I.). But this film doesn’t drag Hoover from the closet for salacious kicks or political payback: it shows the tragic personal and political fallout of the closet. And Mr. Eastwood and Mr. Black’s expansive view of human frailties means that it’s Hoover’s relationship with Tolson — and the foreboding it stirs up in Hoover’s watchful mother (Judi Dench) — that greatly humanizes him."
http://movies.nytimes.com/2011/11/09/movies/j-edgar-starring-leonardo-dicaprio-review.html?nl=todaysheadlines&emc=tha210
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