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Day for Night (film)
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Wikipedia article
'Day for Night' is a 1973 French comedy-drama romance film directed by Franois Truffaut, starring Jacqueline Bisset, Jean-Pierre Laud, and Truffaut himself. The original French title is 'La Nuit amricaine' ("American Night"), the French name for the filmmaking process whereby sequences filmed outdoors in daylight are shot with a filter over the camera lens (a technique described in the dialogue of Truffaut's film) or also using film stock balanced for tungsten (indoor) light and underexposed (or adjusted during post-production) to appear as if they are taking place at night. In English, the technique is called day for night.
It premiered out of competition at the 1973 Cannes Film Festival and won the Academy Award for Best Foreign Language Film the following year.
Plot
'Day for Night' chronicles the production of 'Je Vous Prsente Pamla' ('Meet Pamela', or literally 'I introduce you to Pamela'), a clichd melodrama starring aging screen icon Alexandre (Jean-Pierre Aumont), former diva Sverine (Valentina Cortese), young heartthrob Alphonse (Jean-Pierre Laud) and a British actress, Julie Baker (Jacqueline Bisset), who is recovering from both a nervous breakdown and the controversy over her marriage to her much older doctor.
In between are several vignettes chronicling the stories of the crew members and the director, Ferrand (Truffaut), who deals with the practical problems of making a movie. Behind the camera, the actors and crew go through several romances, affairs, break-ups and sorrows. The production is especially shaken up when one of the supporting actresses is revealed to be pregnant. Later, Alphonse's lover leaves him for the film's stuntman, which leads Alphonse into a palliative one-night stand with an accommodating Julie; thereupon, mistaking Julie's pity for true love, the infantile Alphonse informs Julie's husband of the affair. Finally, Alexandre dies on the way to hospital after a car accident.
Cast
'Cast notes:'
*Author Graham Greene makes a cameo appearance as an insurance company representative, billed as "Henry Graham". On the film's DVD, it was reported that Greene was a great admirer of Truffaut, and had always wanted to meet him, so when the small part came up where he actually talks to the director, he was delighted to have the opportunity. It was reported that Truffaut was unhappy he wasn't told until later that the actor playing the insurance company representative was Greene, as he would have liked to have made his acquaintance, being an admirer of Greene's work.
Production
The film was based on an original idea of Truffaut who said he wanted the picture to do for movies what 'Fahrenheit 451' did for books "to show why it is good to love the cinema". The film was shot in Nice on an enormous set for a Paris street originally built by an American company and used for 'Lady L' and 'The Madwoman of Chaillot'. Truffaut got the idea while editing 'Two English Girls'.Tho audiences may be jaded, Truffaut will remain Truffaut
Mills, Bart. Chicago Tribune 6 Aug 1972: i13.
Truffaut used international actors because he felt French cinema did not have the mythological aspect he wanted. He said the film was influenced by 'The Golden Coach' and 'Singing in the Rain'; the latter was his favourite movie about filmmaking because it showed everyone involved in a film, not just the director and star.Blume, Mary. "Movies: Francois Truffaut's Real Love Affair With Film-making". 'Los Angeles Times', 14 Jan 1973, p. 22.
Bisset was cast in part because she spoke French. "I was so flattered when he [Truffaut] called", said Bisset. "It's wonderful to work with someone who likes working with women".Kramer, Carol. "Movies: The decisive, decorative, diplomatic Miss Bisset". 'Chicago Tribune', 11 Mar 1973, p. E6.
The movie was dedicated to the Gish sisters, whom Truffaut called "the first two actresses of the cinema"; he said the film was made in "the spirit of friendship for all the people in the movie business".Kramer, Carol. "Movies: Truffaut on film, in sharp focus". 'Chicago Tribune', 7 Oct 1973, p. E13.
Truffaut took a sabbatical after making the film.Sweeney, Louise. "Profile: Francois Truffaut". 'The Christian Science Monitor', 18 June 1973, p. 7.
Themes
One of the film's themes is whether cinema is more important than life to those who make it. It makes many allusions both to filmmaking and to movies themselves, perhaps unsurprisingly since Truffaut began his career as a film critic who championed cinema as an art form. The film opens with a picture of Lillian and Dorothy Gish, to whom it is dedicated. In one scene, Ferrand opens a package of books he has ordered on directors such as Luis Buuel, Carl Theodor Dreyer, Ingmar Bergman, Alfred Hitchcock, Jean-Luc Godard, Ernst Lubitsch, Roberto Rossellini and Robert Bresson. The film's French title could sound like 'L'ennui amricain' ("American boredom"): Truffaut wrote elsewhere'Hitchcock' Paladin 1978 pp.111112 of the way French cinema critics inevitably make this pun of any title that uses 'nuit'. Here he deliberately invites his viewers to recognise the artificiality of cinema, particularly American-style studio film, with its reliance on effects such as day for night, that 'Je Vous Prsente Pamla' exemplifies.
Reception
The film is often considered one of Truffaut's best. It is one of two Truffaut films on 'Time' magazine's list of the 100 Best Films of the Century, along with 'The 400 Blows'. It has also been called "the most beloved film ever made about filmmaking".Sterritt, David [http://www.tcm.com/tcmdb/title/72411/Day-for-Night/articles.html "Day for Night (1973)"] TCM.com
Roger Ebert gave the film four stars out of four, writing, "it is not only the best movie ever made about the movies but is also a great entertainment." He added it to his "The Great Movies" list in 1997. Vincent Canby of 'The New York Times' called the film "hilarious, wise and moving," with "superb" performances.Canby, Vincent (September 29, 1973). "Screen: 'Day for Night'". 'The New York Times'. 22. Gene Siskel of the 'Chicago Tribune' gave the film four stars out of four, calling it "a movie about the making of a movie; it also is a wonderfully tender story of the fragile, funny, and tough people who populate the film business."Siskel, Gene (February 12, 1974). "Francois Truffaut triumphs in 'Day for Night'". 'Chicago Tribune'. Section 2, p. 4. He named it the best film of 1973 in his year-end list.Siskel, Gene (December 29, 1974). "On the Big 10 scoreboard: Europe 6 U.S. 4". 'Chicago Tribune'. Section 6, p. 2. Pauline Kael of 'The New Yorker' called the film "a return to form" for Truffaut, "though it's a return only to form." She added, "It has a pretty touch. But when it was over, I found myself thinking, Can this be all there is to it? The picture has no center and not much spirit."Kael, Pauline (October 15, 1973). "The Current Cinema". 'The New Yorker'. 160, 163. Charles Champlin of the 'Los Angeles Times' called it "one of the most sheerly enjoyable movies of any year, for any audience. For those who love the movies as Truffault loves them, 'Day for Night' is a very special testament of that love."Champlin, Charles (April 3, 1974). "Labor of Love From Truffault". 'Los Angeles Times'. Part IV, p. 1. Richard Combs of 'The Monthly Film Bulletin' wrote, "Easily classifiable as a lightweight work, and never digging much below the surface of either its characters or its director's particular concept of cinema, the film still manages to be an delight simply because of the lan and ingenious craftsmanship with which its traditionally dangerous, self-conscious format is handled."
Jean-Luc Godard walked out of 'Day for Night' in disgust, and accused Truffaut of making a film that was a "lie". Truffaut responded with a long letter critical of Godard, and the two former friends never met again.
Awards and nominations
{| class="wikitable"
|-
! Award
! Category
! Nominee(s)
! Result
|-
| Academy Awards
| colspan="2"| Best Foreign Language Film
|
|-
| rowspan="3"| Academy Awards
| Best Director
| Franois Truffaut
|
|-
| Best Supporting Actress
| Valentina Cortese
|
|-
| Best Original Screenplay
| Franois Truffaut, Suzanne Schiffman and Jean-Louis Richard
|
|-
| rowspan="3"| British Academy Film Awards
| Best Film
| rowspan="2"| Franois Truffaut
|
|-
| Best Direction
|
|-
| Best Actress in a Supporting Role
| Valentina Cortese
|
|-
| Chicago International Film Festival
| Gold Hugo (Best Feature)
| rowspan="2"| Franois Truffaut
|
|-
| French Syndicate of Cinema Critics Awards
| Best French Film
|
|-
| rowspan="2"| Golden Globe Awards
| colspan="2"| Best Foreign Film
|
|-
| Best Supporting Actress Motion Picture
| Valentina Cortese
|
|-
| Nastro d'Argento
| Best Foreign Director
| Franois Truffaut
|
|-
| National Board of Review Awards
| colspan="2"| Top Five Foreign Films
|
|-
| rowspan="3"| National Society of Film Critics Awards
| colspan="2"| Best Film
|
|-
| Best Director
| Franois Truffaut
|
|-
| Best Supporting Actress
| Valentina Cortese
|
|-
| rowspan="3"| New York Film Critics Circle Awards
| colspan="2"| Best Film
|
|-
| Best Director
| Franois Truffaut
|
|-
| Best Supporting Actress
| Valentina Cortese
|
|-
| Online Film & Television Association Awards
| colspan="2"| Hall of Fame Motion Picture
|
|}
See also
* List of French submissions for the Academy Award for Best Foreign Language Film
* List of submissions to the 46th Academy Awards for Best Foreign Language Film
* List of films featuring fictional films
References
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