Hortavie Mpondo, Gustave Sorgho, Guy Francis Tami Yoba, Alphonse Béni, c’est le casting de choix opéré par Narcisse Wandji, pour nous plonger dans un univers psychologique fait d’angoisses et maladies. Ainsi, dans Sadrack, le cinéaste pluridimensionnel nous balade dans l’Afrique actuelle et ses nouveaux mots : solitude, troisième âge, responsabilité des jeunes envers les aînés, puis l’amnésie et son pendant « naturel » qu’est l’Alzheimer. Ce narratif est agrémenté de la thématique tout aussi délicate du don d’organe et son corollaire sous-jacent : l’euthanasie.
Dans ce psychodrame, nous retrouvons une femme, Rachel Yongoua [jouée par Hortavie Mpondo, ndrl], souffrant d’insuffisance rénale. Elle a besoin de trois millions de francs CFA [4 500 euros, ndlr], pour une greffe d’organe, quand elle tombe sur Franck. Il est un fils unique dont le père (ancien colonel à la retraite) est soumis à des oublis répétitifs et vit seul, depuis la mort de son épouse. Ce nouveau duo, nonobstant les aléas et les sauts d’humeur teintés de mauvaise foi, apprendra à mieux se connaître.
Rachel, femme de ménage du « Colonel_Sadrack » deviendra un soutien inconditionnel pour ce dernier. Aussi, Bayo Sadrack le retraité, apprendra en retour à mieux accepter celle qu’il a accueillie chez lui, malgré lui. Au point d’éprouver, par la suite, de la tendresse et même, de l’affection parentale pour cette jeune nécessiteuse. Quoique le début du film soit plus ou moins hésitant, au niveau de certains angles de prises de vues et surtout des lumières, la suite du parcours deviendra plus policée. Les costumes et décors de plus en plus judicieux, composeront avec une caméra qui alterne entre plans rapprochés et plans d’ensemble, sous un montage raffiné.
De même, la délicatesse du montré tient à la narration qui semble déséquilibrée en optant pour un traitement plus accentué du problème a priori majeur du film qu’est : le début d’Alzheimer de Sadrack. Pourtant, en toile de fond, cette thématique me semble être un prétexte narratif pour aborder en réalité, deux problèmes contingents et sensibiliser les africains sur la nécessité du don d’organe. Passé ces appréhensions plus ou moins orientées, le film aurait aussi gagné en profondeur en accentuant davantage certains aspects du caractère maniaque et pseudo aliéné de l’ex soldat ou héros Bayo.
L’usage de l’instrument « Mbira » participe de ce narratif psychologique. Cela se manifeste par certains apartés musicaux joués par le colonel dans la cour avec cet instrument, voire la pose musicale de Franck avec le même instrument (quand il revient dans sa chambre d’enfance), Ces moments de recul pro-filmique sont aussi visibles quand, Rachel, seule et pensive, essaye d’oublier son quotidien pesant, en grattant quelques notes sur le « Mbira ».
Toujours, dans une logique de progression narrative, cette amitié devient plus intéressante par des encarts et des inserts utilisés vers la fin du film où, les trois personnages (Franck, Bayo et Rachel) dans une voiture, fredonnent sous le même rythme musical dudit instrument en langue medumba, puis en ewondo (rythme des Zanzibars). Ils nous ramènent à notre terroir camerounais.
Ces usages participent d’une promotion judicieuse, par le musical, des valeurs locales et constituent une plus-value culturelle ajoutée au film de Narcisse Wandji, bien qu’il reste quelques longueurs narratives dans 2 ou 3 scènes qui pourraient être raccourcies.
Fort heureusement, la pluralité du jeu scénique de Rachel, le charisme de Bayo et la justesse de d’interprétation de Franck constituent des points forts de ce film posé en « drame psychologique » « africanisé », ajouté à une vision globale satisfaisante du jeu des seconds rôles.
Ces efforts déployés, en amorce du dénouement, confortent cette lecture critique, qui pose la thématique de la transplantation et du don d’organes, insinuée par le réalisateur, comme point focal des financiers. Cependant, il est difficile dans nos contextes africains (où la famille est encore très influente sur les choix individuels) d’accepter la décision d’un individu considéré comme diminué psychologiquement ou en fin de vie en termes de capacité à être responsable de ses choix et à faire œuvre utile de son corps.
Le film Sadrack (avec ce personnage du Colonel) témoigne en substance, des progrès observés dans le paysage culturel et cinématographique camerounais, ainsi que de la marge de manœuvre à opérer.
Nous disons à Narcisse Wandji, Evodie Ngueyeli ainsi qu’à toute l’équipe artistique et technique : « De l’avant ! » (expression psychologique à la Camerounaise)
John MBAPOU
Sources:www.africine.org
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