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François Truffaut (1932–1984)

Author of Hitchcock: A Definitive Study of Alfred Hitchcock

88+ Works 3,993 Members 78 Reviews 5 Favorited

About the Author

Francois Truffaut was one of the principal figures in the French New Wave movement of the 1950s and early 1960s. As a young critic for the avant-garde film magazine Les Cahiers du Cinema, he formulated the politique des auteurs---the idea that directors with a personal vision are the true authors show more of films, rather than conventional screenwriters or script-bound directors. An admirer of American films, Truffaut was much influenced by Alfred Hitchcock (see Vol. 1). In several of his own films, Truffaut, who had an unhappy childhood and youth, portrayed a fictionalized version of himself, a character called Antoine Doinel, to create personal cinema. The first of these films, which was also his first feature film, was The Four Hundred Blows (1959). It is still one of the most popular of his works. Other notable Truffaut films are Shoot the Piano Player (1960), the lyrical menage a trois Jules and Jim (1961), the Academy Award-winning Day for Night (1973), The Last Metro (1980), and The Woman Next Door (1981). (Bowker Author Biography) show less
Image credit: François Truffaut in TV set 'Apostrophes' in Paris, France on April 08, 1983

Series

Works by François Truffaut

Hitchcock: A Definitive Study of Alfred Hitchcock (1985) 1,755 copies, 20 reviews
The Films in My Life (1978) 304 copies
Fahrenheit 451 [1966 film] (1966) — Director; Screenwriter — 211 copies, 7 reviews
The 400 Blows [1959 film] (1959) — Director — 182 copies, 6 reviews
Jules and Jim [1962 film] (1962) — Director; Screenwriter; Producer — 172 copies, 8 reviews
Letters (1988) 129 copies, 1 review
Shoot the Piano Player [1960 film] (1960) — Director; Director — 96 copies, 2 reviews
The Last Metro [1980 film] (1985) — Director/Screenwriter — 73 copies, 8 reviews
Jules and Jim [Screenplay] (1962) — Author — 68 copies, 1 review
Le plaisir des yeux (1987) 65 copies, 1 review
Day for Night [1973 film] (1973) 56 copies, 2 reviews
Truffaut by Truffaut (1985) 50 copies, 1 review
The Bride Wore Black [1968 film] (1968) — Director — 49 copies, 5 reviews
Love on the Run [1979 film] (1979) — Director/Screenwriter — 45 copies, 1 review
The Wild Child [1970 film] (1970) 42 copies
The Story of Adele H [1975 film] (1975) — Director/Screenwriter — 42 copies, 2 reviews
Mississippi Mermaid [1969 film] (1969) — Director — 42 copies, 1 review
Stolen Kisses [1968 film] (1968) 38 copies, 1 review
The Soft Skin [1964 film] (1979) 37 copies, 1 review
Small Change: A Film Novel (1976) 36 copies, 2 reviews
The Man Who Loved Women [1977 film] (1977) — Director — 36 copies, 1 review
Two English Girls [1971 film] (1999) — Director — 30 copies, 1 review
The Story of Adele H [script] (1976) 30 copies, 1 review
Confidentially Yours [1983 film] (1999) — Director — 30 copies, 2 reviews
Small Change [1976 film] (1976) 29 copies, 1 review
Bed & Board [1970 film] (1999) — Director/Screenwriter — 26 copies
The 400 Blows [screenplay] (1969) 22 copies
Day for Night [script] (1975) 20 copies
The Green Room [1978 film] (1978) 16 copies
Antoine and Colette [1962 film] (1962) — Director — 15 copies
Criterion 101 — Director — 9 copies
A Gorgeous Girl Like Me [1972 film] (1972) — Director — 8 copies
The Wild Child [script] (1973) 6 copies, 1 review
The Last Metro [script] (2001) 2 copies
Book 9788842831693 (2024) 1 copy
LECONS DE CINEMA (TP) (2021) 1 copy
La leçon de cinéma (2024) 1 copy

Associated Works

Close Encounters of the Third Kind [1977 film] (1977) — Actor — 654 copies, 14 reviews
Jules and Jim [Novel] (1953) — Introduction, some editions; Afterword, some editions — 534 copies, 9 reviews
Breathless [1960 film] (1960) — Screenwriter — 213 copies, 5 reviews
Film: A Montage of Theories (1966) — Contributor — 96 copies
The Little Thief [1988 film] (1989) — Story — 17 copies, 1 review
Paras elokuvakirja (1995) — Contributor — 6 copies
La Nouvelle Vague [book] (2004) 2 copies

Tagged

1960s (34) 1970s (22) Alfred Hitchcock (41) art (21) biography (60) Blu-ray (25) cinema (301) comedy (24) Criterion (25) directors (28) drama (74) DVD (252) film (431) film criticism (26) film drammatico (22) France (69) François Truffaut (45) French (101) French cinema (61) Hitchcock (73) interviews (77) movie (31) movies (69) non-fiction (114) Nouvelle Vague (44) regista francese (23) science fiction (37) screenplay (32) to-read (93) Truffaut (125)

Common Knowledge

Canonical name
Truffaut, François
Legal name
Truffaut, François Roland
Birthdate
1932-02-06
Date of death
1984-10-21
Gender
male
Education
self-taught
Occupations
film critic
film director
screenwriter
film producer
actor
Organizations
Cahiers du cinema
Relationships
Bazin, Andre (mentor)
Moreau, Jeanne (actress)
Short biography
François Truffaut was one of the most influential figures in film history. He was largely self-taught, but became one of France's leading film critics during the 1950s. His promotion of the "auteur theory" (politique des auteurs) eventually revolutionized film criticism and led to a re-evaluation of the work of Abel Gance, Max Ophuls, Roberto Rossellini, Alfred Hitchcock, Howard Hawks, Nicholas Ray, and others. He and his colleagues at the pioneering French film magazine Cahiers du cinéma developed a more personal, freewheeling vision of filmmaking that achieved world fame as the French New Wave (Nouvelle vague). Truffaut was born on to an unmarried mother, a circumstance that would shape much of his life and work. He was taken in by his maternal grandparents. In 1933, his mother married Roland Truffaut, an architectural draftsman, who adopted young François, but he didn't live with them until 1939. Many details from his childhood, freely reworked, can be found in Truffaut's semi-autobiographical debut film, Les 400 Coups (The 400 Blows, 1960). As a teenager, he joined various film clubs and societies, where he earned a reputation for his outspoken opinions on films and directors. He was befriended by older intellectuals and cultural figures such as André Bazin, Louise de Vilmorin, and Jean Cocteau. In 1950, Truffaut got a job as a society reporter for Elle magazine and quickly established a reputation as a film critic. Through his work at Cahiers du cinéma and his frequent attendance of screenings at the Cinématheque Française headed by Henri Langlois, Truffaut became friends with other young critics who eventually became leading filmmakers of the French New Wave. During the late 1950s and early 1960s, the peak of the New Wave, Truffaut created and directed a brilliant series of films. In the 1970s, he made other notable films, especially his homage to moviemaking Day for Night (1973), which won the Academy Award for Best Foreign Film. The Last Metro (1980), a portrayal of complicated moral choices during the Occupation, received 10 Césars, including Best Picture. In 1981, he published the book Les Films de ma vie (Films in my life); his correspondance was translated and published posthumously in 1988. In 1983, Truffaut was diagnosed with a brain tumor and died at age 52.
Cause of death
Tumeur du cerveau
Nationality
France
Birthplace
Paris, Île-de-France, France
Places of residence
Paris, Île-de-France, France
Neuilly-sur-Seine, Hauts-de-Seine, France
Place of death
Neuilly-sur-Seine, Hauts-de-Seine, France
Burial location
Cimetière de Montmartre, Paris, France
Associated Place (for map)
France

Members

Reviews

85 reviews
"La Mariée Etait en Noir" is François Truffaut's homage / pastiche of the works of Alfred Hitchcock. The story, from the novel by Cornell Woolrich, sees Julie (Jeanne Moreau) as a mysterious femme fatale who kills successive men in meticulously planned assassinations. It is slowly revealed that she is on a mission of revenge to kill the five men who accidentally gunned downed her husband on the steps of the church moments after they were married. The film is beautifully constructed by show more Truffaut - it is taut, cool and stylish and isn't afraid to let the mystery linger. It is also full of gleeful references to Hitchcock, both in homage and at times comedically. The cinematography is beautiful and a great score by Bernard Hermann adds to the Hitchcockian charm. Topping it all off is Jeanne Moreau who is excellent as the bride on a "roaring rampage of revenge". show less
½
Truffaut's book-length interview with Hitchcock, while a fascinating self-examination of the director's career, succeeds far more in its exploration of the technical details of Hitchcock's work than the underlying meaning of the works.

Hitchcock is surprisingly candid here, often telling lengthy tales with minimal provocation from Truffaut, whose questions tend to guide the discussion more than it directs them.

Truffaut's own interjections, which attempt to elucidate a deeper significance to show more particular shots, are often trivialized by Hitchcock, who lets the Frenchman theorize but never certainly agrees or disagrees. At moments when Truffaut gets insistent on these points, the exchange tends to feel uncomfortable, but fortunately these subside quickly.

The truly inspired moments are those when Hitchcock relishes in divulging details of trick-shots and complex scenes, such as the infamous shower scene from Psycho. During these sequences, Hitch's technical wizardry shines and we see that his true skills lie in the creation, not the interpretation, of what we see on screen. It's a refreshing and informative perspective.

If nothing else, the book reveals two great cinematic minds engaging each other with a depth and respect that seems unfortunately old-fashioned but is nonetheless remarkable. Certainly a must-read for Hitchcock fans and film buffs alike.
show less
Una radiante lección de cine. 500 preguntas en casi 50 horas grabadas de una conversación mítica entre dos de los mejores cineastas de la historia: Alfred Hitchcock y François Truffaut, quien más que autor del libro, se consideraba un provocador del mismo. En primera persona, Hitchcock da una cátedra sobre los principales elementos de la cinematografía: producción, guion, fotografía, sonido, montaje y hasta promoción de películas; el mago del suspenso va desglosando su obra entera show more cinta por cinta, hablando de eventos personales y profesionales con los que tuvo que lidiar, además de confesar la gestación de ideas, guiones y la complejidad de la mise-en-scène. Es tal la importancia e influencia de El cine según Hitchcock, que directores de la talla de Martin Scorsese y Wes Anderson no sólo reconocen haberlo leído, sino que regresan a su lectura eventualmente. show less
Good. I think Truffaut could've gone into more detail and pulled more out, while being a little less critical about some of his concerns. It's obvious Hitchcock really didn't have much feedback on his opinions. And I also wish he would've talked more about the social and political implications of the films, as opposed to the psychology and morals. Still, it holds a great deal of practical information for film students, as well as behind-the-scenes information for movie buffs.

Lists

Awards

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Associated Authors

Suzanne Schiffman Screenwriter, Writer
Jean-Louis Richard Screenwriter, Writer
Marcel Moussy Screenwriter
Claude De Givray Screenwriter
Jean Gruault Screenwriter
Cornell Woolrich Novel, Original novel
David Goodis Screenwriter
Michel Fermaud Screenwriter
Frieda Grafe Translator
Enno Patalas Translator
Alfred Hitchcock Contributor
Nestor Almendros Cinematographer
Nicholas Roeg Director of Photography
Ray Bradbury Original novel
Thom Noble Film Editor
Henri Decaë Cinematographer
Raoul Coutard Cinematographer
Denys Clerval Cinematography
Hélène Jeanbrau Photographer
Henri-Pierre Roché Original book
Torsten Manns Translator
Leonard Mayhew Translator
David Downton Cover artist
Gilbert Adair Translator
Nicholas Fry Translator
Anselm Hollo Translator

Statistics

Works
88
Also by
11
Members
3,993
Popularity
#6,323
Rating
4.0
Reviews
78
ISBNs
242
Languages
14
Favorited
5

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