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- Zhang Yimou | 大紅燈籠高高掛 (Dà Hóng Dēnglong Gāogāo Guà...
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- Richard Fleischer | Compulsion
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Friday, December 9, 2016
François Truffaut | La Nuit américaine (Day for Night)
dreams of moviemaking
by Douglas Messerli
François Truffaut, Suzanne Schiffman, and Jean-Louis Richard (writers), François Truffaut (director) La Nuit américaine (Day for Night) / 1973
A film developing lab accidently destroys one of the most complex group scenes, sets become usable, the plot keeps changing, a prop kitten refuses to drink milk out a saucer, and the American producers threaten to pull out finds in the film is not made in a limited period of days.
Both stars and staff continually go missing, as characters flub lines and attempt to exit through wrong doors. A British insurance company representative (played, unknown to Truffaut by the author Graham Greene) threatens to pull the plug on the entire project if they attempt to shoot with another actor after Alexandre dies. The script girl runs off with a stuntman.
Yet the film does get made, as the director likens it to a long voyage which you hope may be joyful but that gradually appears that it will never end.
Besides that, we comprehend that the movie itself, titled Meet Pamela, is a real stinker, a badly plotted soap-opera where the handsome Alphonse marries a beautiful English girl, Julie, who, when he takes her home to meet his family, falls in love with Alphonse’s father, who runs with his son’s new wife. Everyone ends up badly in the end, turning it into a kind tragedy.
Despite Ferrand’s love of great directors—beginning as a child with Orson Welles and continuing into the present with Luis Buñuel, Carl Theodor Dreyer, Ingmar Bergman, Alfred Hitchcock, Jean-Luc Godard, Ernst Lubitsch, Roberto Rossellini and Robert Bresson—the character, himself, is obviously without much talent. And although he gets his movie finished, we can only wonder for what purpose?
Perhaps it was just this jarring contradiction that made Jean-Luc Godard walk out the Truffaut movie, calling it a “lie,” and permanently ending his long friendship with Truffaut.
The director’s ironic detachment from his own art-making, does pose problems for believability; but then Day for Night is not a realist piece, but a slightly sardonic valentine to filmmaking—good and bad—itself.
Ferrand is still haunted by his youthful first encounters with the genre, and it is clear that he will never stop making movies until the producers pull the plug—which one can imagine them doing if Meet Pamela ever gets released. But it is also interesting that in the imaginary movie that the two desperate lovers, Alphonse’s father and wife, are offstage the two most likeable figures. Alphonse, as his current girlfriend describes him, is a selfish child-man, Séverine is an over-the-hill alcoholic, gradually losing her memory, and even the minor actor Stacey is revealed to be a liar, who hidden the fact of her pregnancy. Perhaps life does imitate art after all.
If Day for Night is not a great movie, it is a very pleasant romp in the tradition of the far greater 8 ½, the afore-mentioned Fassbinder work, and, of course, Godard’s own, Le mélpris, made a decade earlier, and which strangely parallels some of the events, including the car crash death of the central figure of Meet Pamela. No wonder Godard had problems with Truffaut’s much lighter portrait of the movie-making industry.
Los Angeles, December 9, 2016