French New Wave (FNW) is a celebrated dominating cinematic era crossed in the timeline of the French film industry in which the films became equivalent to the art and literature in the state of free expressions and a break from conservative cinematic ideology. Among the peers of that golden era, François Truffaut (FT) is an ageless name who will always be remembered as one of the founding members of the historic movement and will be considered one of the greatest directors of the twentieth century.
Being a film critic, I watched all of his 21 directional works in 45 days to fathom his brain behind the camera and to dig for the answer to why is he a cultural and celebratory icon in arts and entertainment. I discover the answer compelling and I don’t know how to describe it in the shape of the blog but will endeavor my best.
Mr. Truffaut became well-known and controversial for his acid film criticism in the pages of Mr. Bazin’s film magazine, Cahiers du cinéma, before turning his hand to filmmaking in the late 1950s. To understand FT’s work, the viewer must understand the concept of FNW which I have defined in the very first lines. Due to his fabulous contribution to western technical and cinematic innovations, Satyajit Ray acknowledged his debt to him. His admirers had particular praise for his screen depictions of children, obsessed men, and women driven by strong passions.
Among all his films, one thread is common. In almost every film, FT is a keen observer of life and reaches towards the smallest details no matter if it is related to the story or not. Either you watch his quintuple set of Antoine Doinel (AD) series, or the skirt-chasing film L’homme qui aimait les femmes (The Man Who Loved Women) or child-behavior centered L’argent de poche (Small Change); FT fetches minor but rich details like the classroom environment, parents’ behavior towards their child, line pickings by a womanizer, etc.
Every film has an attention-seeking subject that compiles the viewers to watch. AD was a fictional character created by Truffaut himself and made five films in two decades. Being a realism-loyal, FT borrowed the time of Jean-Pierre Léaud to gift him the career highlight of his life, who played the character in all the films from childhood to adulthood. The character is often called FT’s own alter ego. It is about a disturbed and misunderstood boy in Paris who was sick of his parents and teachers, domestic and school life; one day he ran away and his story continued in the next four installments.
The first part Les Quatre Cents Coups (The 400 Blows) is considered among the greatest films of the last century and a gateway to the FNW movement. The film earned awards and nominations at many recognized awards functions like Cannes and Academy. Truffaut was so convinced with the character that his brilliance can be watched in the next films of his series. The next installment was a short film Antoine et Colette (Antoine and Colette) which described his failed love affair with Colette in his teenhood. Baisers volés (Stolen Kisses) dramatized the building of Doinel’s character by struggling in the young hood and trying to settle in one job. Domicile Conjugal (Bed & Board) spoke about his marital life with Christine and his superb depiction of society. L’amour en fuite (Love on the Run) showed Doinel in his thirties who is divorcing Christine but also in an affair with a record-seller, Sabine.
As FT is widely recognized for the films on AD but his directional artistry is stretched and dilated to his other notable works on different subjects. Truffaut was sensitive and tactful to child behavior due to his own disturbed childhood. He lived with his parents for the first time when he was eight years old after being passed to various nannies and his grandmother who instilled a love for books and films in him. His love for books can easily be seen in his films like Doinel reading Balzac in The 400 Blows, or Ferrard opening the package of books he ordered in La nuit américaine (Day For Night).
Even his only English-language film Fahrenheit 451 was based on the books. The film shows a fictional world where some totalitarian government controls general people’s life by dissuading them from the books. For this purpose, the government employs a group of firemen who detect books from every corner and burn them to ashes. Fahrenheit 451 and Small Change were among Truffaut’s best works after The 400 Blows.
Small Change is one of a kind when it comes to child behavior. It is about the kids from different backgrounds mostly lower and middle class, their social life, and behavior towards people of different ages. There is a sketch where a man catches a boy sending his letter to one of the buildings to a married woman for five francs. Then in another sketch, the boy’s manners in eating dinner are brought to our attention. My favorite aspect of the film is the depiction of children’s fascination and excitement with sexual behavior. It is a natural phenomenon but the cinematic presentation demands bold details on which the actions of child artists are subjected to sensitivity on their shoulders. It is easily one of the best coming-of-age films I have watched.
The same case is the film L’enfant Sauvage (The Wild Child) produced in 1970 based on a true and very tragic story of an unfortunate individual, Victor of Aveyron, who spent his childhood with no human contact and was caught by hunters in a nearby village. Although it looks like a documentary more than a feature film but Truffaut gives a remarkable insider into the boy’s development from the delayed general human behavior.
Besides child-centered subjects, one of the FT’s biggest accomplishments was presenting a guide on the making of a film and the complications of shooting it. He was so caught up in the technical as well as the artistic aspects of filmmaking that he made a film about filmmaking, Day for Night.
Truffaut leaves no space to reveal the smallest of filming issues like a love affair between the two artists, producer/director dealing with the insurance company, forgetting dialogues, using the animal in a scene, hiring people on the spot, re-takes, and rehearsals, etc. It shows a further reality that sometimes due to some reasons, the dialogues and the scenes are changed, or the artists are convinced to do a scene so and so. These are small but very important and interesting details.
In 1974, the film won BAFTA for Best Film and Oscar for Best Foreign Film. In addition to winning the Academy Award, it was named the best film of 1973 by the National Society of Film Critics in the United States, which also voted him the year’s top director. Easily one of the best films in filmmaking docudrama.
Romance has always been a prestigious and distinguished subject in French cinema and Truffaut’s directional excellence shares the same artistic heritage. Les Deux Anglaises et le continent (Two English Girls) and Jules et Jim (Jules and Jim) were the films focused on love triangle both based on Henri-Pierre Roché‘s novels of the same titles. Two English Girls is a sublime blend of fluctuations of romantic affairs, exchange of emotions, description of capriciousness, and very jeopardized harmony. Whereas Jules And Jim is a cinematic innovation to be always remembered for Truffaut’s marvelous efforts in bringing the best outcome in the film’s cinematography. Such qualities of camera work like panning shots, newsreel footage, photography stills, or freeze-frame were not common in cinematic business in those days. A freeze-frame was also done at the end of The 400 Blows.
The other romantic film which comes to my mind is the true story based on Victor Hugo‘s daughter, Adèle. A British army officer loved and proposed to her which she refused. Later she had a change of heart and traveled to Halifax during American Civil War to declare but the soldier loved her no more after the refusal. That drove her insane and made failed attempts to win him. Her obsession increased and began showing signs of mental illness.
L’histoire d’Adèle H. (The Story of Adele H.) brought the actress Isabelle Adjani into the limelight and earned a nomination for Best Actress at the Academy Awards. Truffaut’s direction was again hard to ignore. It was his remarkable presentation of dropping of emotions by Adele Hugo picturized on Adjani. The translation of mental collapse was very defining and tragic as overall FT produced a profoundly beautiful, tragic, and dark film.
After watching all his films, one of my most important observations is that his films were more centered/inclined towards the story than the character. Through his films, he brought subjects to the attention of the viewers and didn’t focus a lot on the overall performances of the actors and their characters who mostly displayed average performance.
Almost all the films were based on the literary works of many famous novelists but the message precise among all his films was the subject. La peau douce (The Soft Skin) and La femme d’à côté (The Woman Next Door) were subjected to an extramarital affair, Fahrenheit 451 was on books burning, Small Change on child abuse, Day for Night on filmmaking, The Man Who Loved Women on skirt-chaser and Vivement Dimanche! (Confidentially Yours) a murder-mystery. It is no hiding to the fact that character-centered films also made a huge name in French cinema like Léaud as AD and Isabelle as Adele.
In the smallest of details, the viewer will notice Truffaut’s love for animals, especially cats. Two of his films had identical shots of a cat nosing a lunch tray outside the door. Truffaut in Day For Night did show his fascination with cats by shooting the same cat-eat-lunch scene and went on to describe how hard is it to convince a cat to eat the food during the shot.
Among other details, we will often witness one common scene in many of his films depicting the domestic life of a couple i.e., the couples reading books together in bed before sleeping. Repeating the same scene might give us a clue about Truffaut’s personal life and some portion of his relationship with his wife and partner.
Out of his 21 full-length directional works, my five favorite FT films are The 400 Blows, Small Change, Day For Night, Jules And Jim, and The Wild Child.
In 1963, FT was approached to direct the famous American film, Bonnie And Clyde. Truffaut showed his interest only in script development but later declined. FT admired the works of Alfred Hitchcock and two of his films, La mariée était en noir (The Bride Wore Black) and Confidentially Yours were a tribute to him. In 1981, Vincent Canby of The New York Times called Truffaut ”one of the most continuously surprising and accomplished directors of his day.”
His headquarters for years was the Paris office of his production company, Les Films du Carrosse, which he named after La Carrosse d’Or (The Golden Coach), a film by the French director Jean Renoir. As an actor, he played roles only in his own films. Later in his career, he went on to play the role of a French scientist in Steven Spielberg‘s Close Encounters of the Third Kind which was his only outing as an actor.
Truffaut was married to Madeleine Morgenstern from 1957 to 1965, and they had two daughters. He had affairs with many of his leading ladies. In 1968 he was engaged to actress Claude Jade who starred in the AD series. He and the leading actress of his last two films Fanny Ardant lived together for three years. During his relationship with Ardant, he had a stroke and was later diagnosed with a brain tumor. On 21 October 1984, Truffaut passed away at the age of 52.
The credit goes to Truffaut who redefined the ‘Auteur Theory‘ and criticized the quality of French cinema by further hitting with the statement that the worst of Jean Renoir’s films would always be more interesting than the best of the films of Jean Delannoy. Truffaut aimed to retire from the direction after completing 30 films and writing books later but he wasn’t destined for what he planned. But still left the world with global recognition in filmmaking. He is a huge cinematic inspiration and alive in the hearts of cinephile, sensible filmgoers, and film critics of the highest quality. I regard and consider him among the greatest filmmakers of the twentieth century and personally one of my favorites. I wish we would have seen more of his work instead of knowing he passed away so early.
The direction of François Truffaut itself is a timeless case study. I am watching his films for several weeks and observing his methods, his brain behind those plots and scripts. I am astonished to watch his directional artistry and now I finished his L’Argent de poche (Small Change) which is considered one of his most successful films.
Truffaut was a keen observer towards the society and cared a lot of the smallest and minor details which altogether reflects the realism. Small Change is one of these films which describes human behavior on camera at its finest. The issue of child abuse is raised in the film in a light comedy nature.
The director shows a society in Thiers. Men and women working in shops and institutions, their neighborhood, their social responsibilities; but more than that the film focuses on small children hardly aging between 5-14. It is about kids from different backgrounds mostly lower and middle class, their social life, and behavior towards people from different ages. Truffaut’s trump card is beautifying the story with presenting the smallest of details of their lives which catches our attention like two girls collecting funds on the street, or a father complaining his boy’s haircut to the barber, or two brothers wearing same matched pair of dress like few parents prefer to keep their kids, or the father exchanging their seats when they are unable to see the film in the cinema due to their minor difference of heights.
The film shows and the director try to convince the audience and viewers that more than ours, the children need more attention from their elders whose rank of age empowers to ‘obey’ them. The nature of kids is overlooked due to carelessness or laziness. In the same society, there exist stories of many kids brought to our interest, some of which drops you towards your own timeline of the young hood when reaching towards the age of puberty had many obstacles and hiccups.
If Truffaut’s Les Quatre Cents Coups (The 400 Blows) focused the childhood of his beloved character Antoine Doinel, then this film is the study of more than one Antoine Doinel. Exactly like the former film, the classroom environment is lively in the latter. The hooting, the penance, teacher knocking the door of other teacher’s classroom, the complaints and a moral lesson affecting the students, all this drops you from your age.
Another interesting part is the carelessness of parents towards their infants. A mother hands over her infant to a boy of hardly eight to send him home. Next scene confirms their home is the 9th floor of the building and the infant climbs the stairs and play with that kid. The scene which creates more intensity is when the mother at home loses her wallet and keeps her infant at home with the door closed in order to look after her lost wallet on stairs of all nine floors. With the windowsill open, the infant climbs along with his cat while the whole society becoming spectators of that scene.
When I say the focus is on a kid’s behavior, you have to expect a lot from the film. There is a sketch when a man catches a boy to send his letter to one of the buildings to a married woman for five francs. Then in another sketch, the boy’s manners in eating dinner are brought to our attention.
The child has no freedom of his/her will due to some circumstances. There is a charming little girl who is about to go with her parents to eat in a restaurant with her old bag which is unacceptable to her guardians because that will damage their reputation. Her parents try to convince to take a new bag which doesn’t belong to her but all efforts in vain. They give up and as punishment of her stubbornness, they keep her at home alone and leave. This is easily one of the best scenes in the film showing how her will is not fulfilled.
My favorite aspect of the film is the depiction of children’s fascination and excitement in sexual behavior. It is a natural phenomenon but the cinematic presentation demands bold details on which the acting of child artists are subjected to sensitivity on their shoulders. In school, a boy carries his friend on his shoulder who, through his binoculars borrowed from his father anyhow, watches a naked woman cleaning herself on her window. In another school scene, a group of boys happens to see the ass of a boy’s mother in excitement who is wearing a short skirt and has just dropped her son to their school. In recess time, a kid with all shyness tells a dirty joke of intercourse between a priest and a nun to his group of friends while them listeners are smiling and blushing.
Kids of such young age are invited to develop weird and newly feelings towards such emotions in many abovementioned scenes. Lip-kissing has an unwanted reception in their eyes and I like the director’s brilliance in pointing out two of the kissing scenes growing odd in excitement. In one scene, two teachers who are married begin lip-kissing out of their classroom’s closed doors while the kids witness the scene from the door’s glass whispering and grinning. The other scene is picturized in summer camp when a boy and a girl of same age leaves their lunch and lip-kiss outside the room coming to everyone’s notice.
The funniest scene among many is the one in which two young boys befriends two girls of their age and take them to a cinema where one takes his chance and lip-kiss the girls while the other hesitates.
Above all, a much silent character of a trouble-making boy is a borrowed time to the viewers. He is a sad soul in the class who is a concerned individual but steals objects. One day after a routine checkup, the school finds the boy a tragic case of child abuse and sends his mother to jail. Among many stories existing in the film are presented in light humor with a lot of fun but this story is what raises a strong voice over the subject.
Small Change is an ageless film when you can apply the same stories even today. 40 years after its release, the film still captivates you for many reasons. This film is what easily defines French New Wave movement. Truffaut worries nothing and presents a free demo of child behavior to all ages in a poetic way. It is easily one of the best coming-of-age films I have watched.
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Charlie the piano player (Charles Aznavour) is down with his life. He lost his wife in a suicide attempt and now has brothers in trouble with the gangsters jeopardizing his own life and his new girlfriend, Lena (Marie Dubois).
Tirez sur le pianiste (Shoot the Piano Player) is a French film, also the second film in the direction of François Truffaut’s illustrious career. Based on David Goodis‘ novel ‘Down There’, it generally differs some points in the characterization of leading man Charlie. But overall it is a masterpiece.
The Film is mere 120 minutes of understanding Charlie to involve you. He is a forsaken individual whose omen calls him to wake his nature and express what he wills but he is always mixed in emotions. In short, he is a confused individual who thinks twice to touch Lena’s hand or hand her back.
Produced in 1960, the film is from the earliest phase of French New Wave, a celebrated dominating era of few decades in which the films became equivalent to art and literature in the state of free expressions and a break from conservative cinematic ideology.
Realism has a much contrast like I mentioned the hardship of Charlie to date, Lena. Then we have a very realistic conversation in gangsters’ vehicle when the subject keeps changing in seconds and never focus on Charlie’s brother. Later on, when Charlie fights, he makes sure the windows and ears of the cruel society have an ugly look. A heated exchange of words b/w Mr. and Mrs. Charlie gives another directional example of an unusual pragmatic scene. Truffaut often played his wild card on brilliant post-marital scenes like Bed and Board and The Soft Skin, which often reminds you works by Satyajit Ray and Mani Ratnam in South Asia.
Truffaut preferred open relations in his films which are another aspect of the new wave era. In many of his films, translation of emotions are wide, open and offers all crossings. Women are free to express her desire by emotions, dresses, and private parts. She is ready to accept relations at a time. Charlie’s girlfriend asks him to inform when he is done with her. This is the same case in other films like Jules and Jim, Two English Girls and even Antoine Doinel series.
Action sequences are the simplest and most realistic essence in the film. Charlie’s fight in the bar (mentioned above) and last 5 minutes of gangsters vs Charlie and brothers is impressive.
Shoot the Piano Player is a combination of postwar Parisian noir and keen observation on humanist detail. If you don’t accept the film in the first attempt, you will definitely in the second.
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