La nuit américaine

A film-within-a-film that lacks the common pretension that appears in the genre. In most of these sorts, there is a certain air that "film" is a higher form of art than any existent today. What "Day for Night" straight-facedly states is that the actor's day is nothing more than the daily "grind" of the common worker, and that the director is nothing more than the "general manager," who is bombarded with questions at every turn. This film more than others clearly gives light to the famous quote of Orsen Wells -- that to make a film is comparable to playing with the world's "largest train set." What impressed me most with this film was its approach to the art form without tending toward unnecessary flourishing. In other words, it is a film about films, and nothing more. It's almost as if Truffaut desired to say, "This is what it's all about, and no joke." The film does not attempt to preach, condescend, or embellish, as most of today's "film-within-a-film" types ordinarily do. It is, in short, a delight for the eye, an excitation for those who love the art, and a pleasantry for those who enjoy sitting in one place for nearly two hours.

This is the Art of Film, by one of film's greatest admirers and pupils.

When making movies, it appears, there's many hurdles, the behaviour of the crew can make blood curdle, you need to keep hold of your senses, repair, rebuild, renew strained fences, as you spin, rotate and turn around in circles. Most common are the fraught relationships, musical chairs and their resulting partnerships, bonds are formed and bonds are broken, sometimes strong, quite often token, but they're guaranteed to challenge, the film script.

François Truffaut genially introduces us the often chaotic and unpredictable world of filmmaking, the perpetual challenges from the people, product and process, and the diplomatic way all manner of banana skins are traversed. Highly amusing, and with many parallels to more ordinary lives and livings, it's sure to bring a smile to your face.

In Nice, the Studios La Victorine is producing the film "Je Vous Presente Pamela", about a French man that marries the English Pamela in England and brings his wife to France to introduce her to his parents. However, his father and Pamela fall in love with each other and she leaves her husband to live with her father-in-law. The producer Bertrand (Jean Champion) and the director Ferrand (François Truffaut) invite the British Julie Baker (Jacqueline Bisset), who had a nervous breakdown and married her Dr. Nelson (David Markham), to the role of Pamela.

Along the shooting, the cast and crew are lodged in the Hotel Atlantic and Bertrand and Ferrand have to deal with problems with the stars Severine (Valentina Cortese), an aging artist with drinking problems that affect her performance; the immature, spoiled and needy Alphonse (Jean-Pierre Léaud); Julie that is emotionally unstable. But in the end, they succeed to complete the film.

"La Nuit Américaine" is a film about making a film and a great tribute to the cinema. This is one of my favorite Truffaut's films and the last time I saw it was on 08 January 2001.

It is impossible to highlight performances in this film, but the mesmerizing beauty of Jacqueline Bisset shines. Jean-Pierre Léaud performs his usual role of an insecure man, using the same gestures of Antoine Doinel.

In 1992, Louis Malle explored the storyline of "Je Vous Presente Pamela" in "Damage". My vote is nine.

Title (Brazil): "A Noite Americana" ("The American Night")

Many movies have been made about moviemaking but none surpass Day for Night (La Nuit Américaine) for its humanity, its warmth and its genuine feel for Director François Truffaut's approach to his art and craft. The film follows Truffaut, in effect playing himself, as he makes a somewhat banal little romance called "Meet Pamela" (Je Vous Présente Pamela) with Jacqueline Bisset, Jean Pierre Aumont, Valentina Cortese (who was nominated for and should have won the Academy Award for Best Supporting Actress) and Jean-Pierre Léaud. It conveys the chaos of filmmaking process in front of and behind the camera and behind the scenes.

There are occasional false notes - the production manager's wife who insists on being on the shoot and watches disapprovingly as the cast and crew move in and out of each other's rooms, as funny as she is, simply doesn't ring true to the film - but in so many more cases, the details, the emotions, the mad combination of giddiness, passion and meticulousness that are needed to make a film, are captured so as to make you forget the slightly dated early 70s look. And Jacqueline Bisset is timelessly stunning in this film.

Minor notes: The movie launched the film career of Nathalie Baye as the continuity girl - her first major role; Graham Greene, the great English novelist (The Quiet American, Brighton Rock, etc.) had an uncredited cameo as the Insurance Agent - Truffaut directed the scene but did not know who the actor was until after the shot was in the can; Maurice Séveno, who appears briefly as a TV reporter, was a well-know French TV news anchor in the 60s and 70s; the score by Georges Delerue, who collaborated on many Truffaut movies, is lovely without being cloying.

Truffaut's movie, dedicated to two great silent stars Lilian and Dorothy Gish, is very specific since it shows how a movie is being made from a technical as well as personal point of view. The content may seem to be boring for some people. However, it is not exactly so for many people since lots of us would like to see the real wings of a film and Truffaut's movie does a perfect job in this aspect.

The cast are generally good but the quality of performances is raised by very few individuals. The actors and actresses have a double work to do: to play in the film which is being shot, MAY I INTRODUCE PAMELA, as well as to play in DAY FOR NIGHT. Jacqueline Bisset is supposedly the main star of the film. Yet, she is far from best. Sometimes, it is felt that she cannot combine her role in DAY FOR NIGHT with her role of Pamela. She looks confused at switching to two different realities. There are some less famous French cast, like Dani or Jean-Pierre Aumont, who do a good job, but do not appear to be particularly memorable. However, the person who absolutely shines in her role is, in my opinion, Valentina Cortese. The Italian stage and movie actress, born in Milan, was cast by such great directors as Antonioni, Fellini, and Zeffirelli. She was always very good. But here, in Truffaut's movie, she gives one of her very finest performances. She beautifully combines the role of an actress and the role of Alfonso's mother. It's just a perfect flow between these two. I have watched the entire film twice, but the scenes with Ms Cortese - ten times. Her facial expressions in the portrayal of Severine, an alcoholic desperate movie star, her constant forgetting of the lines and opening wrong door, her whole acting REALLY DESERVE AWARDS!

Since the film's content deals with making movies, I would like to concentrate on one more aspect: how it really shows movie making and people who take part in it. Here, I must say that Truffaut did something unforgettable and universal. While watching DAY FOR NIGHT, a viewer is led to a wonderful journey into the core of film making. One can see, for instance, the scene shooting, problems with direction, writing the script, the private problems of the cast, the way others perceive the works, director's real devotion, including ultimate work - "Who is a director?...Someone who is constantly being asked". Finally, the film touches the most serious problem: what happens if an actor dies during filming... This is something that happens rather rarely (thank goodness); yet, it's double tragedy. Truffaut also develops the characters of actors and actresses - these are not only people who act but complex individuals.

I recommend DAY FOR NIGHT to those people who are interested in film-making. Truffaut did a piece of marvelous job and I am glad that Valentina Cortese was cast by him and her performance resulted in awards. She really deserves it.