The Extraordinary Career of Francois Truffaut
A CINEMATIC VIEW
Last fall one of the century’s outstanding film directors died. With his 21 feature films, among them such highly acclaimed films as 400 Blows (1959), Shoot the Piano Player (1960), Jules and Jim (1961), Stolen Kisses (1968), The Wild Child (1970), The Story of Adele H. (1975), Day for Night (1973), and Small Change (1976), Francois Truffaut has left an extraordinary legacy. Because of Truffaut’s special contribution to cinema and because no current film can come close to Truffaut’s best work, I decided to devote this month’s column to an overview of the French director.
Truffaut’s films are autobiographical in either one of two senses: some deal specifically with phases of his life; all reveal his personal interests and obsessions. The appearance of 400 Blows marked Truffaut’s debut as a director and established him along with directors Jean-Luc Godard, Alain Resnais, and Claude Chabrol as one of the key figures in the French New Wave, a self-consciously idiosyncratic style of moviemaking that emphasized the director’s role. Back in the late 1950s the New Wave directors turned what should have been obstacles into assets; young independent moviemakers with no studios, they did on-location shooting using either nonprofessional performers or little-known actors, and filmed daily experiences. The results seem spontaneous and improvised. Of all the New Wave directors, Truffaut was through the years the most consistently popular.
Enjoyed reading this?
READ MORE! REGISTER TODAYSUBSCRIBE
You May Also Enjoy
Two recent films, Deepwater Horizon with Mark Wahlberg and Sully starring Tom Hanks, represent something of a breath of…
“Do you reject Satan? And all his works? And all his empty promises?” — Baptismal vows…
His typical work is at times a beautiful blend of intuition, sensitivity, and compassion but at other times a maddening mixture of overly long scenes, aimless dialogue, and directionless plot.