AN EXCELLENT FORMULA!

THE HITCHCOCK VILLAINS

This is my contribution to Maddy's 4th Annual Alfred Hitchcock blogathon, click here to learn more...

In 1962, French film director/critic Francois Truffaut spent a week sequestered at Universal Studios with Alfred Hitchcock, a filmmaker he admired extravagantly. There, the two explored each of Hitchcock’s films to date in detail. Discussing Stage Fright (1950), one of his lesser films, Hitchcock remarked, “The greatest weakness of the picture is that it breaks an unwritten law: The more successful the villain, the more successful the picture. That’s a cardinal rule, and in this picture the villain was a flop!” Truffaut was delighted, “The better the villain, the better the picture,” he exclaimed, “that’s an excellent formula!”

Is it? Let’s take a closer look at the villains in some of Hitchcock’s best films.

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Hitchcockian: François Truffaut 's The Soft Skin (1964)

 ...For the Vive la France Blogathon...

35 years after his death in 1984, François Truffaut is best known today as the most successful of the youthful filmmakers to emerge from the nouvelle vague (New Wave) movement that swept French cinema in the late 1950s. But before he would write and direct his first full-length feature in 1959, Truffaut would make his name as an enfant terrible critic at the influential post-war film journal Cahiers du cinema (Notebooks on Cinema). It was Truffaut who authored a famous/infamous January 1954 article, an impassioned and polemic piece, that advanced the “auteur theory.”  This theory maintains that auteur films reflect the filmmaker’s personal/artistic vision and possess an identifiable style along with recurring themes and motifs. Alfred Hitchcock, a director revered by Cahiers’ young critics, personified the auteur concept and Truffaut was one especially smitten with his work. He would author 27 articles on Hitchcock over the course of the 1950s.

HITCHCOCK/TRUFFAUT (2015)

The legendary interviews of Alfred Hitchcock by Francois Truffaut, the French New Wave auteur who idolized him, took place in Hollywood over the course of a week in 1962. Their talks, with assistance by translator Helen Scott, were recorded and in 1966 a book, referred to by Truffaut as "the Hitchbook," was published. To everlasting acclaim. Revised and updated by Truffaut not very long after Hitchcock's death and only a year before his own end, Hitchcock/Truffaut stands as the definitive tome on Hitchcock and one of the all-time great books on film. And it is the inspiration for Kent Jones' 2015 documentary.

My copy of "the Hitchbook," with post-it notes

Though the interviews weren't filmed, they were recorded and photographed, and Jones includes sections of the audio and photos throughout his documentary. Most fascinating, though, is to watch scenes from Hitchcock's films (and clips from all of his great films are shown) that vividly illustrate his own words on his artistic process.  The observations of filmmakers like Martin Scorsese, Wes Anderson, David Fincher, Paul Schrader and others are also illuminating and provide insight into the powerful and long-lasting impact Hitchcock has had on filmmaking.

A must-have companion piece to the book, Hitchcock/Truffaut is currently available on HBO Now, HBO Go, via "On Demand" through September 10, and on DVD and Blu-ray.

 

TCM's Friday Night Spotlight in July: Francois Truffaut

Francois Truffaut

Friday nights in July are going to be hot, and I’m not talking about the weather where I live. Beginning tonight and on the 12^th, 19^th and 26^th, Turner Classic Movies will feature hour after hour of the films of one of the pioneers and masters of the French New Wave, Francois Truffaut (1932 – 1984). Film Critic David Edelstein of New York Magazine and NPR’s Fresh Air, hosts the series.

A Birthday Tribute to Francoise Dorleac

71 years ago today, on the first day of spring, March 21, 1942, Francoise Dorleac was born in war-ravaged Paris; she would live just 25 years more.

Catherine (top) and Francoise

Her father was Maurice Dorleac, a stage and screen actor, and her mother, Renee Deneuve, was an actress who re-voiced Hollywood films in French (including Judy Garland’s in The Wizard of Oz). Both Maurice and Renee were prominent performers at the Comedie Francaise. Francoise's younger sister, Catherine Deneuve, was born in October 1943. With their parents in the theater, acting did not seem an unusual profession to the girls. Many years later Catherine would recall, “For us, it was a job like any other.” She and Francoise grew up sharing a bedroom and a bunk bed, and each would go into “the family business” at an early age. 

Francoise first performed on the stage at age 10 and made her screen debut at 15 in the short Mesonges (1957). Later, supporting herself as a model for the house of Dior, she would study acting at the Conservatoire d'Art Dramatique. As an in-demand model and actress, Francoise led a wildly busy life from her teens to the end of her life. She appeared on stage (among her roles was "Gigi"), on TV, on magazine covers and in spreads (including Vogue), and on film. Over the seven years from 1960 – 1967 she was featured in 16 films, most notably: