La nuit américaine

"Shooting a movie is like a stagecoach trip. At first you hope for a nice ride. Then you just hope to reach your destination."

Early in the film, director Ferrand, played by François Truffaut, says this in a voice-over of 'Day for Night'. A lot of the film illustrates that this is a very true sentence.

In his legendary Hitchcock book, Truffaut says at one point that it would be a nice idea to make a film about making a film, and Hitchcock agrees. Luckily Truffaut liked that idea enough to actually make this film, as 'Day for Night' is probably the best film ever made about making a film.

We are on the set of 'Meet Pamela'. 'Meet Pamela' is a love and revenge story, about a man falling in love with daughter-in-law. It looks very much like a pretty mediocre film. I doubt I would like it. But that's good, as it doesn't distract us from what's happening on the set, from the many characters.

We get to know the cast and crew of 'Meet Pamela': Julie Baker, a second generation Hollywood star whose nervous breakdown she's recovering from causes insurance problems; Alphonse, a very jealous, very neurotic French actor who's so madly in love with a girl he organizes the job of the script girl for her just to have her near; Alexandre, a veteran actor who played many lovers in his life, but is actually a closet homosexual; Severine, an Italian actress with an alcohol problem who used to play opposite Alexandre frequently in her career, but hasn't talked to him in years, maybe because she found out she had no chance to become his real-life lover. From the crew, we especially remember Joelle, the production assistant who almost seems to be more involved in the making of the film than director Ferrand (it is her who has the film's most often quoted line: "I'd drop a guy for a film, but I'd never drop a film for a guy"), Liliane, the girl who got the job as a script girl only because Alphonse wanted to have her around him, who doesn't really seem to be interested in the film - or in Alphonse; Odile, the makeup girl who also got a bit part in the film; Bernard, the prop man, who gives us with his every day work a look behind the scenes of a film; and the unit manager Lajoie, whose wife is always around and at one point shouts at the cast and crew because she just can't understand their 'immoral' behavior.

The film doesn't have a plot of it's own, but it shows us all these characters and their problems, trying to get a film made and getting over one catastrophe after the next, sometimes something as harmless as a kitten refusing to drink milk or Stacey, a supporting actress causing scheduling problems because of her pregnancy, sometimes something more serious as Alphonse refusing to go on acting after Liliane leaves the set with a stunt man, with even more complications to follow when Julie tries to cure Alphonse's neurosis. But not even a lethal car accident can stop the making of the film.

'Day for Night' also has brilliant performances, but three stand out: Nathalie Baye in her first notable performance as the omni-competent Joelle and Jean-Pierre Léaud, who never was better in his life than here as Alphonse, would make it a worthwhile film alone. But it is Valentina Cortese who steals the show as the fading actress Severine. Her scene opposite Alexandre in which she can't remember her dialog and suggests just saying numbers (she did the same when she worked with "Federico") is priceless.

At one point Ferrand says that a director is a man who is constantly asked many questions and sometimes knows the answer, and it is sort of a surprise that the one man who "invented" the auteur theory, which more or less says that a film is the director's work, makes a film that shows how many people's work is involved in the making of a film. But it is not only a film about people making films: Many of the characters (most notably Ferrand, Alphonse and Joelle) are film enthusiasts, and the entire film is a film from a film lover about film lovers for film lovers. It's Truffaut's best and shouldn't be missed by cinephiles.

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.

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.

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.

François Truffaut's "Day for Night" ("La nuit américaine") is a movie about the making of another movie, "Meet Pamela" ("Je vous présente Pamela"). From the snippets we see of "Meet Pamela", it looks like an insignificant and silly little film, even though its stars are fond of describing it to the press as a "modern tragedy." However, they mostly don't have time to philosophize about the larger meaning of "Meet Pamela"--they're just trying to film the darn thing!

"Day for Night" is an ensemble movie, showing how the many kinds of people on a film set surmount the many minor crises inherent in film-making. There are romantic entanglements and misalliances, as well as technical problems (e.g. the film's title refers to the necessity of shooting a nighttime scene using daylight and a special filter).

Valentina Cortese has some unforgettable, hilarious scenes as Severine, an alcoholic actress who can't remember her part. Also good are Nathalie Baye as an unflappable continuity girl; Jean-Pierre Léaud as an intense but callow young actor; and Jacqueline Bisset as an actress trying to survive the movie-making process after having suffered a nervous breakdown the prior year.

All these elements make "Day for Night" an entertaining movie. But upon reflection, I'm amazed at the craftsmanship it involved. Taking on the role of Ferrand, the director of "Meet Pamela," is Truffaut himself. He makes Ferrand into a professional, unassuming, and likable figure--it feels as though Truffaut put a lot of himself into his role. So it takes some conscious effort to disentangle Truffaut from Ferrand, but once that happens, Truffaut's astounding achievements become clear. As co-writer of the screenplay, Truffaut had a hand in everything that is said; as director of "Day for Night," he set up every shot in the movie. Even the shots in which he appears as Ferrand. Even the complicated shots that show the backstage workings of a movie set and feel so realistic that it's strange to think of them as having been set up. He shoots "Meet Pamela" unexceptionally, usually with a static camera (Ferrand-style) while the "real-life" scenes use hand-held cameras and other exciting techniques (Truffaut-style). It would probably take multiple viewings to appreciate all of what Truffaut did here.

I suppose this means that "Day for Night" is a noteworthy example of the "auteur theory." But that sounds like too dry and academic a summary for a movie that was made not only with superb skill, but also with a palpable love for cinema and love for life.