Die süße Haut

Truffaut filmed La Peau Douce immediately after the international success of "Jules et Jim". Released at the heyday of the nouvelle vague, critics and audiences panned the film as a futile resort to bourgeois classicism after the unconventional antics of his previous masterwork.

They could not have been more mistaken. Time has treated La Peau Douce better than most of his later efforts. It is definitely a triumph of direction with each scene being carefully planned and meticulously structured, not unlike a Hitchcock movie. In practice, Truffaut transposes Hitchcock's mechanisms of suspense into a seemingly trivial story concerning the illicit love affair of a distinguished editor/author with a younger stewardess and its withering consequences. The characters and the milieu of the story are effortless evoked, but the main joy is derived from the visual inventiveness that Truffaut shows in scene after scene. It's a triumph of a purely cinematic mode of expression, which Truffaut was one of the few who had really mastered it.

French drama from writer-director Francois Truffaut. A respected author and lecturer (Jean Desailly) has an affair with a young stewardess (Francoise Dorleac).

I believe this film is deeply personal for Truffaut. He has several films about male protagonists who cheat on their wives or girlfriends (Bed and Board and The Man Who Loved Women, for example). What I like best about The Soft Skin is precisely that the affair happens because the stewardess is impressed to get involved with a minor celebrity, and he sleeps with her mainly because he can. They don't "fall in love" with each other; it's an adultery story, not a love story. Because the emotional involvement of the characters isn't very great, neither is the involvement of most of the audience. I will infer that Truffaut had more than one fling like this, but had no insight into why he did this. The subject is personal, but nothing about the presentation helped to alleviate that paucity of engagement.

Two other points: 1) Truffaut's films tend to be very one-paced. They don't usually quicken, slow down, speed up, etc. They proceed pretty much at the same pace from beginning to end. This is a real limitation. 2) I have come to believe that as much as Truffaut loved Hitchcock's films, as a director he learned absolutely nothing from him. Hitchcock is a master of pacing. The best moments in Truffaut's films usually come from a realist aesthetic that is the opposite of Hitchcock's master manipulation of genre and audience.

On a business trip to Lisbon you're distracted, by a stewardess you find rather attractive, so you take a chance and call, as she's staying down the hall, it's a tangent that will mean, your life's refracted. You're consumed with all the flushes of desire, she's igniting all the flames your wife cant fire, but opportunities to meet, while remaining quite discreet, when back in Paris, leaves you shackled in the mire. A business trip to Reims provides a chance, to take Nicole, and to enjoy some more romance, get some privacy at last, break your circumstantial fast, though best laid plans may leave you looking more askance.

A well-known publisher has an affair that delivers considerably more than he bargained for. Great performances and original for its time.

Pierre Lachenay (Jean Desailly) is a successful writer. He is leaving Paris for Lisbon to give a conference on "Balzac et l'argent". On the flight to Lisbon he feels instant attraction for a beautiful flight stewardess. In Lisbon he'll discover that he's staying at the same hotel as her. Pierre wastes no time and gets to know her. Her name is Nicole (Françoise Dorléac). She is spontaneous and easy-going, but it's easy to detect the romantic streak in her. They start an affair right there in Lisbon. She gives him her Paris telephone number. He calls her. They meet. In Paris their relationship grows in intensity.

Pierre is a married man. His wife is also a good-looking woman and he has a 10-year-old daughter that loves him (as does his wife). Pierre is an intellectual with an organized life, maybe having had some flings here and there, but nothing that really threatened the comfortable foundations of his life. But now he has met Nicole. And Nicole represents everything that Pierre had never really experienced before: she has a real "joie de vivre" but underneath it, there is pain, and above all, strength - the strength to overcome sadness and start all over again, that is, to live right here and now.

Pierre, on the other hand, as an intellectual, lives a life of compromises. His wife, Franca (Nelly Benedetti), loves him and has a strong personality. She knows exactly what she wants and is determined to fight for it. Pierre is between two strong women. He loves Nicole - she has opened a new life, a new world for him. Will he follow his heart? And where will his heart lead him? I think that "La Peau Douce" is one of the more personal films made by Truffaut. It has a psychological subtlety not displayed in his later works (be it his later Antoine Doinel films, his literary adaptations, or his homages - to Hitchcock, Jean Renoir etc..). Never again would Truffaut reach the depth of "La Peau Douce".

"La Peau Douce" reveals understanding (and tenderness) for all the characters, but alongside these traits there's also a bitter irony and even some touches of dark comedy. The characters are shown in all their weaknesses and beauty. In later Truffaut films the tenderness would be the prevailing feature - the irony would come along in a watered-down form.

Truffaut's study of a middle-aged man losing his way in life in the age-old fashion is caught in a mesmerizing series of quick-succession shots and sympathetically-captured quotidian details. An unthinking, self-assured man; his wounded, passionate wife; his sweet, vulnerable lover; an inevitable tragedy. This underrated film has no real surprises, but its sure-footedness is impressive and the simple story ultimately very moving.