Trans-Europ-Express was a 1966 French experimental film about three people involved in establishing a film plot while riding on the train. During the travel, they discuss and present their idea about the plotline and its continuity for their next film. And the plot plays in the entire film with their commentary.
The French film industry was very thoughtful about the innovative approaches in filmmaking and this is why I choose this film. An around 100-minute film about ifs and buts of future film project where the makers try to reason their plot and bring it to an ultimate end.
Plus their plot ran the screen in a careful characterizing of the leading actor Elias (Jean-Louis Trintignant) whose cocaine consignment is mixed with his own sexual fantasies with the prostitutes. The detailing of intimate scenes is striking. This is called exploitation cinema where the film majorly focuses or emphasizes a subject within the main plotline. The director takes time in exploiting the actor’s dark sexual desires.
Special praise for the camera work who took some breathtaking shots of beautiful women in the film. Especially the hotel scenes, where Elias takes the pleasure of Eva’s company. The enchantment is dominant.
The film is directed by Alain Robbe-Grillet who was vastly known for his artistic and experimental techniques in filmmaking. The film deserves praise for being different from the usual.
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.
L’Histoire d’Adele H. (The Story of Adele H.) is a French film directed by François Truffaut based on the true story of Adele Hugo, daughter of Victor Hugo. Victor Hugo was one of the leading names in literature who is considered France’s greatest asset in poetry, novel and drama in Europe’s age of Romanticism. As much as father had earned a name of honor and respect in his field, his daughter met tragic fate for which she is known.
A British army officer loved and proposed her which she refused. Later she had a change of heart and travelled 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.
Yes François is hard to ignore in my reviews but first, the biggest plus was Isabelle Adjani‘s leading performance as Adele. It is hard to describe but she was very impressive in depicting different phases of one-sided affair. Her facial reactions, her eye-contact, her speaking to herself, her writing letters and so many demanding elements of this specific performance! The beginning of Adele’s frustration after the first scene of his refusal is the moment where her body language was so realistic, natural and with time, began to increase the level of astonishment. She was inclined towards the misery and more did she prove to be showstopper.
Now the second credit goes to François, whose marvelous direction just propels you. With her quest of lost love, you are more obsessed than her to find out to what limit she will drop herself in hunger of winning his heart. The case is not only his direction but François’ collective belief on the-then 19yo Adjani. Keeping in mind, she wasn’t a popular name with very short number of films to her credit before making this. That is the quality and one of the most successful features of a director how he builds and maintains his trust on the leading actor for a certain film and that was the case of François himself. Take an example of his Antoine series in which he believed on Léaud‘s abilities to function the age-crossing role of Antoine Daniel to an extent that he went on to make five films in 20 years on his beloved character.
To my knowledge, this is the only known film based on Adele’s tragic story. You won’t see the character of Victor Hugo in the film but listen, and I think it makes sense. Besides Isabelle, all performances are below par but the viewers have no business to take a look on other performances than beautiful Adjani as Adele. The-then teenager Adjani was nominated for Best Actress in Academy Awards for this role despite being the role from a non-English film. She was the youngest to be nominated in the category by that time.
A profoundly beautiful, tragic and dark film. Well done François/Adjani.