François Roland Truffaut (French: [fʁɑ̃.swa ʁɔ.lɑ̃ tʁyfo]; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic. He is widely regarded as one of the founders of the French New Wave. In a film career lasting over a quarter of a century, he remains an icon of the French film industry, having worked on over 25 films. Truffaut's film The 400 Blows came to be a defining film of the French New Wave movement, and was followed by four sequels, Antoine et Colette, Stolen Kisses, Bed and Board, and Love on the Run, between 1958 and 1979.
Truffaut's 1973 film Day for Night earned him critical acclaim and several accolades, including the BAFTA Award for Best Film and the Academy Award for Best Foreign Language Film. His other notable films include Shoot the Piano Player (1960), Jules et Jim (1961), The Wild Child (1970), Two English Girls (1971), and The Woman Next Door (1981).
Truffaut in 1965
François Roland Truffaut
6 February 1932
|Died||21 October 1984 (aged 52)|
|Movement||French New Wave|
(m. 1957; div. 1965)
Truffaut was born in Paris on 6 February 1932. His mother was Janine de Montferrand. His mother's future husband, Roland Truffaut, accepted him as an adopted son and gave him his surname. He was passed around to live with various nannies and his grandmother for a number of years. It was his grandmother who instilled in him her love of books and music. He lived with his grandmother until her death, when Truffaut was eight years old. It was only after his grandmother's death that he lived with his parents for the first time. The identity of Truffaut's biological father was unknown, though a private detective agency in 1968 revealed that their inquiry into the matter led to a Roland Levy, a Jewish dentist from Bayonne. Truffaut's mother's family disputed the findings but Truffaut himself believed and embraced them.
Truffaut would often stay with friends and try to be out of the house as much as possible. His best friend throughout his youth and until his death was Robert Lachenay, who was the inspiration for the character René Bigey in The 400 Blows and would work as an assistant on some of Truffaut's films. It was the cinema that offered him the greatest escape from an unsatisfying home life. He was eight years old when he saw his first movie, Abel Gance's Paradis Perdu (Paradise Lost) from 1939. It was there that his obsession began. He frequently played truant from school and would sneak into theaters because he didn't have enough money for admission. After being expelled from several schools, at the age of fourteen he decided to become self-taught. Two of his academic goals were to watch three movies a day and read three books a week.
Truffaut frequented Henri Langlois' Cinémathèque Française where he was exposed to countless foreign films from around the world. It was here that he became familiar with American cinema and directors such as John Ford, Howard Hawks and Nicholas Ray, as well as those of British director Alfred Hitchcock.
After starting his own film club in 1948, Truffaut met André Bazin, who would have great effect on his professional and personal life. Bazin was a critic and the head of another film society at the time. He became a personal friend of Truffaut's and helped him out of various financial and criminal situations during his formative years.
Truffaut joined the French Army in 1950, aged 18, but spent the next two years trying to escape. Truffaut was arrested for attempting to desert the army. Bazin used his various political contacts to get Truffaut released and set him up with a job at his newly formed film magazine Cahiers du cinéma.
Over the next few years, Truffaut became a critic (and later editor) at Cahiers, where he became notorious for his brutal, unforgiving reviews. He was called "The Gravedigger of French Cinema" and was the only French critic not invited to the Cannes Film Festival in 1958. He supported Bazin in the development of one of the most influential theories of cinema itself, the auteur theory.
In 1954, Truffaut wrote an article in Cahiers du cinéma called "Une Certaine Tendance du Cinéma Français" ("A Certain Trend of French Cinema"), in which he attacked the current state of French films, lambasting certain screenwriters and producers, and listing eight directors he considered incapable of devising the kinds of "vile" and "grotesque" characters and storylines that he declared were characteristic of the mainstream French film industry: Jean Renoir, Robert Bresson, Jean Cocteau, Jacques Becker, Abel Gance, Max Ophuls, Jacques Tati and Roger Leenhardt. The article caused a storm of controversy, and also landed Truffaut an offer to write for the nationally circulated, more widely read cultural weekly Arts-Lettres-Spectacles. Truffaut would pen more than 500 film articles for that publication over the next four years.
Truffaut later devised the auteur theory, which stated that the director was the "author" of his work; that great directors such as Renoir or Hitchcock have distinct styles and themes that permeate all of their films. Although his theory was not widely accepted then, it gained some support in the 1960s from American critic Andrew Sarris. In 1967, Truffaut published his book-length interview of Hitchcock, Hitchcock/Truffaut (New York: Simon and Schuster).
After seeing Orson Welles' Touch of Evil at the Expo 58, he was inspired to make his feature film directorial debut with The 400 Blows, which was released in 1959 to much critical and commercial acclaim. Truffaut received a Best Director award from the Cannes Film Festival, the same festival that had banned him only one year earlier.
The film follows the character of Antoine Doinel through his perilous misadventures in school, an unhappy home life and later reform school. The film is highly autobiographical. Both Truffaut and Doinel were only children of loveless marriages; they both committed petty crimes of theft and truancy from the military. Truffaut cast Jean-Pierre Léaud as Antoine Doinel. Léaud was seen as an ordinary boy of 14 who auditioned for the role after seeing a flyer, but interviews filmed after the film's release (one is included on the Criterion DVD of the film) reveal Léaud's natural sophistication and an instinctive understanding of acting for the camera. Léaud and Truffaut collaborated on several films over the years. Their most noteworthy collaboration was the continuation of the Antoine Doinel character in a series of films called "The Antoine Doinel Cycle".
The primary focus of The 400 Blows is on the life of a young character by the name of Antoine Doinel. This film follows this character through his troubled adolescence. He is caught in between an unstable parental relationship and an isolated youth. The film focuses on the real life events of the director, François Truffaut. From birth Truffaut was thrown into an undesired situation. As he was born out of wedlock, his birth had to remain a secret because of the social stigma associated with illegitimacy. He was registered as "A child born to an unknown father" in the hospital records. He was looked after by a nurse for an extended period of time. His mother eventually married and her husband Roland gave his surname, Truffaut, to François.
Although he was legally accepted as a legitimate child, his parents did not accept him. The Truffauts had another child who died shortly after birth. This experience saddened them greatly and as a result they despised François because of the memory of regret that he represented (Knopf 4). He was an outcast from his earliest years, dismissed as an unwanted child. François was sent to live with his grandparents. It wasn't until François's grandmother's death before his parents took him in, much to the dismay of his own mother. The experiences with his mother were harsh. He recalled being treated badly by her but he found comfort in his father's laughter and overall spirit. The relationship with Roland was more comforting than the one with his own mother. François had a very depressing childhood after moving in with his parents. They would leave him alone whenever they would go on vacations. He even recalled memories of being alone during Christmas. Being left alone forced François into a sense of independence, he would often do various tasks around the house in order to improve it such as painting or changing the electric outlets. Sadly, these kind gestures often resulted in a catastrophic event causing him to get scolded by his mother. His father would mostly laugh them off.
The 400 Blows marked the beginning of the French New Wave movement, which gave directors such as Jean-Luc Godard, Claude Chabrol and Jacques Rivette a wider audience. The New Wave dealt with a self-conscious rejection of traditional cinema structure. This was a topic on which Truffaut had been writing for years.
Following the success of The 400 Blows, Truffaut featured disjunctive editing and seemingly random voice-overs in his next film Shoot the Piano Player (1960) starring Charles Aznavour. Truffaut has stated that in the middle of filming, he realized that he hated gangsters. But since gangsters were a main part of the story, he toned up the comical aspect of the characters and made the movie more attuned to his liking.
Even though Shoot the Piano Player was much appreciated by critics, it performed poorly at the box office. While the film focused on two of the French New Wave's favorite elements, American film noir and themselves, Truffaut never again experimented as heavily.
In 1963, Truffaut was approached to direct an American film called Bonnie and Clyde, with a treatment written by Esquire journalists, David Newman and Robert Benton intended to introduce the French New Wave to Hollywood. Although he was interested enough to help in script development, Truffaut ultimately declined, but not before interesting Jean-Luc Godard and American actor and would be producer, Warren Beatty, the latter of whom proceeded with the film with director Arthur Penn.
His fourth movie as director was The Soft Skin (1964) which was not well acclaimed on initial release.
Truffaut's first non-French film was a 1966 adaptation of Ray Bradbury's classic science fiction novel Fahrenheit 451, showcasing Truffaut's love of books. His only English-speaking film was a great challenge for Truffaut, because he barely spoke English himself. This was also his first film shot in color. The larger scale production was difficult for Truffaut, who had worked only with small crews and budgets.
Bed and Board (1970) was another Antoine Doinel film, also with Jade.
Two English Girls (1971) is the female reflection of the same love story as "Jules et Jim". It is based on a story written by Henri-Pierre Roche, who also wrote Jules and Jim. It is about a man who falls equally in love with two sisters, and their love affair over a period of years.
Such a Gorgeous Kid Like Me (1972) was a screwball comedy that was not well received.
Day for Night won Truffaut a Best Foreign Film Oscar in 1973. The film is probably his most reflective work. It is the story of a film crew trying to finish their film while dealing with all of the personal and professional problems that accompany making a movie. Truffaut plays the director of the fictional film being made. This film features scenes shown in his previous films. It is considered to be his best film since his earliest work. Time magazine placed it on their list of 100 Best Films of the Century (along with The 400 Blows).
The Man Who Loved Women (1977), a romantic drama, was a minor hit.
The Green Room (1978) starred Truffaut himself in the lead. It was a box office flop so he made 'Love on the Run (1979) starring Jean-Pierre Léaud and Claude Jade is the final movie of the Doinel Cycle.
Truffaut's final movie was shot in black and white. It gives his career almost a sense of having bookends. Confidentially Yours is Truffaut's tribute to his favorite director, Alfred Hitchcock. It deals with numerous Hitchcockian themes, such as private guilt vs. public innocence, a woman investigating a murder, anonymous locations, etc.
Among Truffaut's films, a series features the character Antoine Doinel, played by the actor Jean-Pierre Léaud. He began his career in The 400 Blows at the age of fourteen, and continued as the favorite actor and "double" of Truffaut. The series continued with Antoine and Colette (a short film in the anthology Love at Twenty), Stolen Kisses (in which he falls in love with Christine Darbon alias Claude Jade), Bed and Board about the married couple Antoine and Christine—and, finally, Love on the Run, where the couple go through a divorce.
In the last movies, Léaud's girlfriend and later wife, Christine Darbon, was played by Truffaut's favorite actress, Claude Jade. During the filming of Stolen Kisses, Truffaut himself fell in love with, and was briefly engaged to, Claude Jade.
A keen reader, Truffaut adapted many literary works, including two novels by Henri-Pierre Roché, Ray Bradbury's Fahrenheit 451, Henry James' "The Altar of the Dead", filmed as The Green Room, and several American detective novels.
Truffaut's other films were from original screenplays, often co-written by the screenwriters Suzanne Schiffman or Jean Gruault. They featured diverse subjects, the sombre The Story of Adèle H., inspired by the life of the daughter of Victor Hugo, with Isabelle Adjani; Day for Night, shot at the Victorine Studios describing the ups and downs of film-making; and The Last Metro, set during the German occupation of France, a film rewarded by ten César Awards.
Known as being a lifelong cinephile, Truffaut once (according to the 1993 documentary film François Truffaut: Stolen Portraits) threw a hitchhiker he had picked up out of his car after learning that the hitchhiker didn't like films.
Truffaut is admired among other filmmakers and several tributes to his work have appeared in other films such as Almost Famous, Face and The Diving Bell and the Butterfly, as well as novelist Haruki Murakami's Kafka on the Shore.
Truffaut expressed his admiration for filmmakers such as Luis Buñuel, Ingmar Bergman, Robert Bresson, Roberto Rossellini, and Alfred Hitchcock. Truffaut wrote Hitchcock/Truffaut, a book about Hitchcock, based on a lengthy series of interviews.
On Jean Renoir, he said: "I think Renoir is the only filmmaker who's practically infallible, who has never made a mistake on film. And I think if he never made mistakes, it's because he always found solutions based on simplicity—human solutions. He's one film director who never pretended. He never tried to have a style, and if you know his work—which is very comprehensive, since he dealt with all sorts of subjects—when you get stuck, especially as a young filmmaker, you can think of how Renoir would have handled the situation, and you generally find a solution".
In 1973, Jean-Luc Godard accused Truffaut of making a movie that was a "lie", and Truffaut replied with a 20-page letter in which he accused Godard of being a radical-chic hypocrite, a man who believed everyone to be "equal" in theory only. The two never saw each other again. However, as noted by Serge Toubiana and Antoine de Baecque in their biography of Truffaut, Godard tried to reconcile their friendship later on, and after Truffaut's death wrote the introduction to a collection of his letters and a lengthy tribute in his video-essay film Histoire(s) du cinéma.
Truffaut was married to Madeleine Morgenstern from 1957 to 1965, and they had two daughters, Laura (born 1959) and Eva (born 1961). Madeleine was the daughter of Ignace Morgenstern, managing director of one of France's largest film distribution companies, and was largely responsible for securing funding for Truffaut's first films. He had affairs with many of his leading ladies: in 1968 he was engaged to actress Claude Jade; Truffaut and actress Fanny Ardant lived together from 1981 to 1984 and had a daughter, Joséphine Truffaut (born 28 September 1983).
In July 1983, Truffaut rented France Gall's and Michel Berger's house outside Honfleur, Normandy (composing for Philippe Labro's film Rive droite, rive gauche) when he had his first stroke and was diagnosed with a brain tumor. He was expected to attend his friend Miloš Forman's Amadeus premiere when he died on 21 October 1984, aged 52, at the American Hospital in Neuilly-sur-Seine in France.
At the time of his death, he still had numerous films in preparation. His goal was to make 30 films and then retire to write books for his remaining days. He was five films short of his personal goal. He is buried in Paris' Montmartre Cemetery.
|Year||English Title||Original title||Notes|
|1959||The 400 Blows||Les Quatre Cents Coups||Antoine Doinel series|
Cannes Film Festival – Best Director
Nominated – Academy Award for Best Original Screenplay
Nominated – Cannes Film Festival – Palme d’Or
|1960||Shoot the Piano Player||Tirez sur le pianiste|
|1962||Jules and Jim||Jules et Jim||Mar del Plata International Film Festival – Best Director|
Nominated – Mar del Plata International Film Festival – Best Film
|1964||The Soft Skin||La Peau douce||Nominated – Cannes Film Festival – Palme d’Or|
|1966||Fahrenheit 451||Fahrenheit 451||Filmed in English|
Nominated – Venice Film Festival – Golden Lion
|1968||The Bride Wore Black||La Mariée était en noir|
|1968||Stolen Kisses||Baisers volés||Antoine Doinel series|
Nominated – Academy Award for Best Foreign Language Film
|1969||Mississippi Mermaid||La sirène du Mississippi|
|1970||The Wild Child||L'Enfant sauvage|
|1970||Bed and Board||Domicile conjugal||Antoine Doinel series|
|1971||Two English Girls||Les Deux anglaises et le continent|
|1972||Such a Gorgeous Kid Like Me||Une belle fille comme moi|
|1973||Day for Night||La Nuit américaine||Academy Award for Best Foreign Language Film|
BAFTA Award for Best Film
BAFTA Award for Best Direction
Nominated – Academy Award for Best Director
Nominated – Academy Award for Best Original Screenplay
|1975||The Story of Adèle H.||L'Histoire d'Adèle H.||Nominated – César Award for Best Director|
|1976||Small Change||L'Argent de poche||Nominated – Berlin International Film Festival – Golden Bear|
|1977||The Man Who Loved Women||L'Homme qui aimait les femmes||Nominated – Berlin International Film Festival – Golden Bear|
|1978||The Green Room||La Chambre verte|
|1979||Love on the Run||L'Amour en fuite||Antoine Doinel series|
Nominated – Berlin International Film Festival – Golden Bear
|1980||The Last Metro||Le Dernier métro||César Award for Best Film|
César Award for Best Director
César Award for Best Writing
Nominated – Academy Award for Best Foreign Language Film
|1981||The Woman Next Door||La Femme d'à côté|
|1983||Confidentially Yours||Vivement dimanche!||Nominated – César Award for Best Director|
|1955||A Visit||Une Visite|
|1957||The Mischief Makers||Les Mistons|
|1958||A Story of Water||Une Histoire d'eau||Co-directed with Jean-Luc Godard|
|1961||The Army Game||"Tire-au-flanc 62"||Directed by Claude de Givray; Truffaut credited as co-director|
|1962||Antoine and Colette||Antoine et Colette||Antoine Doinel series, segment from Love at Twenty|
|1960||Breathless||À bout de souffle||Directed by Jean-Luc Godard|
|1988||The Little Thief||La Petite voleuse||Directed by Claude Miller|
|1995||Belle Époque||Belle Époque||Miniseries, with Jean Gruault; directed by Gavin Millar|
|1956||Le Coup du berger||Party guest||Uncredited, Directed by Jacques Rivette|
|1956||La sonate à Kreutzer|
|1959||The 400 Blows||Man in Funfair||Uncredited|
|1963||À tout prendre||Himself||Uncredited|
|1964||The Soft Skin||Le pompiste||Voice, Uncredited|
|1970||The Wild Child||Dr. Jean Itard||Lead role|
|1970||Bed & Board||Newspaper vendor||Voice, Uncredited|
|1971||Two English Girls||Récitant / Narrator||Voice, Uncredited|
|1972||Such a Gorgeous Kid Like Me||Un journaliste||Voice, Uncredited|
|1973||Day for Night||Ferrand, the film director||Lead role|
|1975||The Story of Adèle H.||Officer||Uncredited|
|1976||Small Change||Martine's Father||Uncredited|
|1977||The Man Who Loved Women||Man at Funeral||Uncredited|
|1977||Close Encounters of the Third Kind||Claude Lacombe||Directed by Steven Spielberg|
Nominated – BAFTA Award for Best Actor in a Supporting Role
|1978||The Green Room||Julien Davenne||Lead role|
|1981||The Woman Next Door||Cameo||Uncredited|
|1958||Good Anna||Anna your mam||Directed by Harry Kümel|
|1960||Testament of Orpheus||Le testament d'Orphée||Directed by Jean Cocteau|
|1961||The Gold Bug||Le scarabée d'or||Directed by Robert Lachenay|
|1961||Paris Belongs to Us||Paris nous appartient||Directed by Jacques Rivette|
|1968||Naked Childhood||L'Enfance Nue||Directed by Maurice Pialat|
Mr. Truffaut's 1957 marriage to Madeleine Morgenstern ended in divorce. He is survived by two adult daughters from that marriage, Laura Truffaut-Wong of San Francisco and Eva Truffaut of Paris, and by a 13-month-old daughter, Josephine.
Yet Truffaut, an atheist, was not stumping for God with these conservative attacks.
One way of understanding Godard's approach is to contrast it with that of François Truffaut, one of his most respected New Wave colleagues. As a self-described atheist, Truffaut took special pleasure in the materiality of cinema, noting that no photographic image can be obtained without real, physical light making direct contact with a real, physical object in the immediate presence of the camera.
François Truffaut, the exuberant film director whose depictions of children, women and romantic obsessions helped make him a leader of the New Wave group of French movie makers, died yesterday. He was 52 years old. Mr. Truffaut died at the American Hospital in Neuilly-sur-Seine, a Paris suburb, a hospital spokesman said. He had been hospitalized about 10 days ago for treatment of cancer.
A Story of Water (French: Une histoire d'eau) is a short film directed and written by Jean-Luc Godard and François Truffaut in 1958. It recounts the story of a woman's trip to Paris, which is surrounded by a large flooded area. It was first shown publicly in 1961. The title is a pun on the title of the erotic novel Une histoire d'O. The film was shot in two days. The film is dedicated to Mack Sennett.
According to film critic David Edelstein, introducing the film's presentation on TCM.com, Truffaut's screenplay was a "slight but reasonably coherent romance" which was altered significantly in the editing room by Godard, who added absurdist voiceovers and percussion music while cutting out most of the plot.The film is included as a supplement on Criterion's DVD/Blu-ray release of Truffaut's The Last Metro.Bed and Board (1970 film)
Bed and Board (French: Domicile conjugal) is a 1970 French film directed by François Truffaut. It is the fourth in Truffaut's series of five films about Antoine Doinel, and directly follows Stolen Kisses, showing the married life of Antoine (Jean-Pierre Léaud) and Christine (Claude Jade). The last in the series is Love on the Run.Confidentially Yours
Confidentially Yours (United States title - original French title: Vivement dimanche!, known as Finally, Sunday! in other English-speaking markets and translations thereof in other markets) is a 1983 French film directed by François Truffaut. It is based on the novel The Long Saturday Night, by the American author Charles Williams, and was Truffaut's last film. He died the next year, aged 52, after being diagnosed with a brain tumor. The film had a total of 1,169,635 admissions in France and was the 39th highest-grossing film of the year.Day for Night (film)
Day for Night (French: La Nuit américaine) is a 1973 French film directed by François Truffaut. It stars Jacqueline Bisset and Jean-Pierre Léaud. It is named after the filmmaking process referred to in French as la nuit américaine ("American night"), whereby sequences filmed outdoors in daylight are shot using a filter placed over the camera lens (the technique described specifically in the dialogue of Truffaut's film) or also using film stock balanced for tungsten (indoor) light and underexposed (or adjusted during post production) to appear as if they are taking place at night. In English, the technique is called day for night, which is the film's English title.
It had its premiere out of competition at the 1973 Cannes Film Festival.Fahrenheit 451 (1966 film)
Fahrenheit 451 is a 1966 British dystopian drama film directed by François Truffaut and starring Oskar Werner, Julie Christie, and Cyril Cusack. Based on the 1953 novel of the same name by Ray Bradbury, the film takes place in a controlled society in an oppressive future in which the government sends out firemen to destroy all literature to prevent revolution and thinking. This was Truffaut's first colour film as well as his only English-language film. At the 1966 Venice Film Festival, Fahrenheit 451 was nominated for the Golden Lion.François Truffaut Award
The François Truffaut Award (Italian: Premio François Truffaut) was an Italian film award, named in memory of French director François Truffaut, that was awarded from 1988 to 2014 at the Giffoni Film Festival.François Truffaut bibliography
A list of books and essays written by and about François Truffaut:
Baecque, Antoine de; Toubiana, Serge (1999). Truffaut. Knopf. ISBN 9780375400896.
Dixon, Wheeler Winston (22 February 1993). Early Film Criticism of Francois Truffaut. Indiana University Press. ISBN 0-253-11343-1.
Gillain, Anne (7 June 2013). François Truffaut: The Lost Secret. Indiana University Press. ISBN 0-253-00845-X.
Insdorf, Annette (1994). François Truffaut. Cambridge University Press. ISBN 978-0-521-47808-3.
Truffaut, François (1 January 2008). François Truffaut: Interviews. Univ. Press of Mississippi. ISBN 978-1-934110-14-0.
Truffaut, Francois (21 July 2009). The Films In My Life. Da Capo Press. ISBN 0-7867-4972-5.Jules and Jim
Jules and Jim (French: Jules et Jim [ʒyl e dʒim]) is a 1962 French New Wave romantic drama film, directed, produced and written by François Truffaut. Set around the time of World War I, it describes a tragic love triangle involving French Bohemian Jim (Henri Serre), his shy Austrian friend Jules (Oskar Werner), and Jules's girlfriend and later wife Catherine (Jeanne Moreau).
The film is based on Henri-Pierre Roché's 1953 semi-autobiographical novel describing his relationship with young writer Franz Hessel and Helen Grund, whom Hessel married.
Truffaut came across the book in the mid-1950s whilst browsing through some secondhand books at a shop along the Seine in Paris. Later he befriended the elderly Roché, who had published his first novel at the age of 74. The author approved of the young director's interest to adapt his work to another medium.
The film won the 1962 Grand Prix of French film prizes, the Étoile de Cristal, and Jeanne Moreau won that year's prize for best actress.
The film ranked 46 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. The soundtrack by Georges Delerue was named as one of the "10 best soundtracks" by Time magazine in its "All Time 100 Movies" list.Love on the Run (1979 film)
Love on the Run (French: L'amour en fuite) is a 1979 French film directed by François Truffaut. It is Truffaut's fifth and final film about the character Antoine Doinel. A significant portion of the film is made up of selected clips from the previous films in the series. It was entered into the 29th Berlin International Film Festival.Shoot the Piano Player
Shoot the Piano Player (French: Tirez sur le pianiste; UK title: Shoot the Pianist) is a 1960 French New Wave crime drama film directed by François Truffaut and starring Charles Aznavour as the titular pianist. It is based on the novel Down There by David Goodis.Stolen Kisses
Stolen Kisses (French: Baisers volés) is a 1968 French romantic comedy-drama film directed by François Truffaut starring Jean-Pierre Léaud and Claude Jade. It continues the story of the character Antoine Doinel, whom Truffaut had previously depicted in The 400 Blows and the short film Antoine and Colette. In this film, Antoine begins his relationship with Christine Darbon, which is depicted further in the last two films in the series, Bed & Board and Love on the Run.
The original French title of the film comes from a line in Charles Trenet's song "Que reste-t-il de nos amours ?" which is also used as the film's signature tune. The film was nominated for Academy Award for Best Foreign Language Film.The film begins with a pan onto the locked gates of the Cinémathèque Française then based at the Palais du Chaillot. On the gates there is a sign 'Relache' ('Closed'). This is Truffaut's reference to the Affaire Langlois when the head of the Cinémathèque had been sacked by the French government. He was eventually reinstated after filmmakers like Truffaut used all their wiles to foment protest.Such a Gorgeous Kid Like Me
Such a Gorgeous Kid Like Me (French: Une belle fille comme moi) also known as A Gorgeous Bird Like Me, is a 1972 French film directed by François Truffaut, starring Bernadette Lafont. It is based on Henry Farrell's 1967 novel of the same name.The 400 Blows
The 400 Blows (French: Les Quatre Cents Coups) is a 1959 French New Wave drama film, shot in DyaliScope and the debut by director François Truffaut; it stars Jean-Pierre Léaud, Albert Rémy, and Claire Maurier. One of the defining films of the French New Wave, it displays many of the characteristic traits of the movement. Written by Truffaut and Marcel Moussy, the film is about Antoine Doinel, a misunderstood adolescent in Paris who struggles with his parents and teachers due to his rebellious behavior. Filmed on location in Paris and Honfleur, it is the first in a series of five films in which Léaud plays the semi-autobiographical character.
The 400 Blows received numerous awards and nominations, including the Cannes Film Festival Award for Best Director, the OCIC Award, and a Palme d'Or nomination in 1959. The film was also nominated for an Academy Award for Best Writing in 1960. The 400 Blows had 4.1 million admissions in France, making it Truffaut's most successful film in his home country.The 400 Blows is widely considered one of the best French films in the history of cinema; in the 2012 Sight & Sound critics' poll of the greatest films ever made, it was ranked 39th.The Last Metro
The Last Metro (French: Le Dernier Métro) is a 1980 historical drama, written and directed by François Truffaut, that stars Catherine Deneuve and Gérard Depardieu.Opening in 1942 during the German occupation of France, it follows the fortunes of a small theatre in the Montmartre area of Paris which keeps up passive resistance by maintaining its cultural integrity, despite censorship, antisemitism and material shortages, to emerge triumphant at the war’s end.
The title evokes two salient facts of city life under the Germans: fuel shortages led people to spend their evenings in theatres and other places of entertainment, but the curfew meant they had to catch the last Métro train home.
In 1981, the film won ten Césars for: best film, best actor (Depardieu), best actress (Deneuve), best cinematography, best director (Truffaut), best editing, best music, best production design, best sound and best writing. It received Best Foreign Film nominations in the Academy Awards and Golden Globe Awards.The Last Metro was one of Truffaut's most successful productions, grossing $3,007,436 in the United States; this was also true in France, where it had 3,384,045 admissions, making it one of his most successful films in his native country.The Man Who Loved Women (1977 film)
The Man Who Loved Women (French: L'Homme qui aimait les femmes) is a 1977 French comedy/drama film directed by François Truffaut and starring Charles Denner, Brigitte Fossey and Nelly Borgeaud. In 1983, it was remade in Hollywood under the same title. The film had a total of 955,262 admissions in France.The Soft Skin
The Soft Skin (French: La peau douce) is a 1964 French-Portuguese romantic drama film directed by François Truffaut and starring Jean Desailly, Françoise Dorléac, and Nelly Benedetti. Written by Truffaut and Jean-Louis Richard, the film is about a successful married publisher and lecturer who meets a beautiful air hostess with whom he has a love affair. The film was shot on location in Paris, Reims, and Lisbon, and several scenes were filmed at Paris-Orly Airport. At the 1964 Cannes Film Festival, the film was nominated for the Palme d'Or. Despite Truffaut's recent success with Jules and Jim and The 400 Blows, The Soft Skin did not do well at the box office.The Woman Next Door
The Woman Next Door (French: La Femme d'à côté) is a 1981 French film directed by François Truffaut. Reminiscent of the medieval legend of Tristan and Iseult but set among young middle-class people in a provincial city, it tells the story of a fatal romance between a loving husband (Gérard Depardieu) and the attractive woman (Fanny Ardant) who moves in next door. The last of Truffaut's serious films, being followed by the more light-hearted Vivement dimanche!, it was the 39th highest-grossing film of the year, with a total of 1,087,600 admissions in France.Une Visite
Une Visite (French: A Visit) was the first short film made by 23-year-old François Truffaut. It was filmed in Jacques Doniol-Valcroze’s apartment and its crew included Jacques Rivette, Alain Resnais and Truffaut's boyhood friend Robert Lachenay. It was only briefly screened for friends and is the only Truffaut film that has never been available for public viewing since Truffaut was unhappy with it.
Truffaut usually told people that no copies of the film existed, but in 1982 he made a 35mm print of the film and screened it for friends.