I get the impression that for some time The figure of François Truffaut is at risk of being submerged a kind of limbo movie buff who is leaving in the background. It seems that it was more important critic, theorist and director of the Nouvelle Vague, the most popular and media of the French directors, is watching his aura fades, twenty years after his death, in an uncomfortable position on the ground no one, not belonging and to those who love the film more commercial or devotees of riskier films. It paradigm a few years ago, Quentin Tarantino, after filming Kill Bill, for which not only got the idea, plot and even formal details of the film by Truffaut The Bride wore black, she remembered all the diversity of filmmakers and actors who died and made no mention of the French director. The same does not happen with Godard, whose name comes from his mouth at any time, without thereby less deserved. Because we agree that Godard is probably the most important and influential director of movie history, but finally remembered more for the pose, gesture, the icon, which by the depth and depth of thought that behind his films or fundamental breach of its continuing formal innovations. And so, almost always sounds more prestigious, "coolest" talk to talk about Truffaut Godard, however, should not forget that one would not be possible without the other, the two heads of the Nouvelle Vague.
Because Truffaut began to cross academic and domesticated unfairly when his films has always been deeply personal, and its gradual approach to classic Hollywood should be seen more as a theoretical statement of intent that a concession or a weakness. And for that reason it may need a deep and peaceful critical review of all his work, free from political bias or resentment aesthetic. It is well known
Godard, Rohmer and Rivette are directors fetish of this blog, but we should not forget that all his achievements and discoveries owe much to Truffaut, who in his short career he made a crucial theoretical contributions, plus a handful of extraordinary films and some masterpieces. So I would look very healthy followers of Godard and Truffaut decided to go together and not let them looks certain to contaminate the tortured relationship of French cinema. Because the name of Truffaut often used frequently by fans of classic cinema and U.S. commercial to insult Godard and other French pilot, to say that Truffaut, by its proximity to the classic ways is the only French film worth it, when the unfortunate director never intended anything like that. And this causes a reaction of rejection logic Part of Godard, who are those who, deep down, most could appreciate his films. For fans of classic American cinema, at last, after all, always prefer the totems Ford, Hawks or Hitchcock, or the most controversial Wilder, Walsh and Wyler. In a way, we could say that Truffaut is the attachment to European cinema equivalent of Kurosawa to Japanese cinema, which is not necessarily bad (the opposite), but can be a double-edged sword: the danger of losing ground anyone.
And focusing on the survey and has been open in recent weeks on the blog, and seeing the results, seem entirely consistent, at the same predictable. The classification is as follows: 1 .-
Jules and Jim --- 5 votes
2 .- The four strokes --- 3 votes
3 .- Shoot the Piano Player 2 votes
--- 4 .- Fahrenheit 451 --- 2 votes
5 .- The two English and love --- 2 votes
6 .- The Green Room --- 2 votes
With one vote: The Soft Skin, The Wild, The night American, The Last Metro, Confidentially Yours.
I have to say I fully agree with the ranking, although I would have liked to see above the skin smooth, the great chronicle of adultery and "love fou" filmed with sensitivity and a capacity for superb detail, or have let The woman next door, its continuation into adulthood, will take a vote. Jules and Jim and The four strokes are indisputable, fundamental in the history of film and true aesthetic icons (and thus constitute the most enduring of Truffaut in the collective memory, but in this case, in my view, the detail matches the excellence .) Perhaps it was more likely to see over The four strokes, caused by the impact in its day and its foundational nature, but today, forgetting that time, the backbone of Jeanne Moreau triangle between comedy, drama and the absence of gender benefit of one of the most vital films in history, it certainly reassuring. Of the two votes, expected to see above the exquisite Both English and love, which has become, along with The Green Room, in the cult film by French director. I do not share the excitement of The Green Room (Hitchcock this makes me too), but it is a very personal and quirky film by Truffaut, and I understand that cause large adhesions.
But in the end, for one reason or another, all the work of Truffaut is highly recommended, very interesting for one reason or another, to the movies regularly battered. When I checked all of his films, I realized that even his smaller works and usually underappreciated treasures included small unforgettable. One must not forget that his film is much more than the chronicle of the life of Antoine Doinel, but if something of the films of Truffaut, as has always been said, is life, real life.
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