François Truffaut (b. 1932–d. 1984) is renowned both for the originality and the enduring popularity of his films, being considered an iconic figure of the French New Wave, a movement for which he was an aggressive and controversial spokesman. Prior to becoming a filmmaker, Truffaut was a critic and film theorist, contributing to the journal Cahiers du Cinéma. Notorious for his ferocious attack on traditional French “quality cinema,” he also asserted that the director is the true author of a film, on the grounds that a director’s stylistic and thematic choices reveal his identity as surely as fingerprints. Having turned to filmmaking, Truffaut achieved instant success with his first feature film, The 400 Blows (Les 400 coups), which gained a prize at the Cannes Festival in 1959 and was universally acclaimed. Thereafter, he regularly produced a film every two years, accumulating an oeuvre of twenty-five films, a number of which, such as Day for Night (La Nuit américaine, 1973) and The Last Metro (Le Dernier Métro, 1980), were highly successful both in France and abroad. Subsequently, Truffaut’s reputation suffered a decline as his popularity grew with the incorporation of elements of genre cinema into his films, which caused certain of his fellow filmmakers, such as Jean-Luc Godard, to see him as betraying the ideals of the New Wave for the sake of achieving commercial success. In recent years, however, there has been a revival of interest in Truffaut, reflected in several retrospectives of his films, and the discovery of complexities in his work that have modified earlier appraisals of him as a sentimental, lightweight filmmaker. Indisputably, Truffaut has exerted an enormous influence on subsequent filmmaking in France and elsewhere, his influence being most evident in the auteur cinema of le Jeune Cinéma Français (Young French Cinema) of the 1990s and 2000s, the New Hollywood cinema of the 1970s, recent American “indie” movies, and various “New Waves” in a number of national cinemas such as those of Germany, Denmark, Taiwan, Australia, and New Zealand. Prominent contemporary filmmakers such as Steven Spielberg, Arnaud Desplechin, and Tsai Ming Liang have freely confessed their debt to Truffaut, leaving little doubt that Truffaut is emerging as one of the most influential figures in the history of cinema. Tragically, Truffaut’s career was cut short by his death from a brain tumor in 1984, leaving a number of foreshadowed projects unrealized.
Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)