François Truffaut, a name synonymous with French New Wave cinema, a director revered for his cinematic vision and storytelling prowess, possessed a prolific letter-writing habit that arguably defined a significant aspect of his professional and personal life. The sheer volume of his correspondence suggests a deep engagement with the world, a need to connect, to debate, to influence, and to leave an indelible mark on the cinematic landscape. Unlike the digital age where email reigns supreme, a medium that the author suggests would have likely rendered Truffaut profoundly unhappy, Truffaut’s letters were tangible, carefully crafted artifacts of communication. The author starkly contrasts the potential negative impact of emails with the inherent artistic value of the director’s letters, implying an authenticity and depth absent in the modern, often fleeting, digital exchange.
A recently published comprehensive collection of his correspondence with fellow directors offers a fascinating glimpse into his relationships, his influences, and his strategies for navigating the complex world of filmmaking. Reading these letters is likened to a cartomancer divining the future, each phrase, each sentiment offering clues to Truffaut’s inner workings and his impact on the art form. The collection is a veritable who’s who of cinematic luminaries, a testament to Truffaut’s wide-ranging network and his respect for his peers and predecessors.
The letters reveal not only professional collaborations but also deep personal connections. He corresponded with "copains," "maîtres," and "aînés," a categorization that emphasizes the hierarchical yet intimate nature of the film community. The presence of international figures further underscores Truffaut’s global perspective and his desire to engage in a dialogue that transcended national boundaries. Rossellini, affectionately dubbed "mon père italien," represents a paternal figure, a source of inspiration and guidance. Arthur Penn’s eventual direction of "Bonnie and Clyde," a project initially intended for Truffaut, highlights the collaborative and sometimes serendipitous nature of filmmaking.
One particularly striking anecdote illustrates Truffaut’s persuasive abilities and his deep understanding of the filmmaking process. In his effort to convince Alfred Hitchcock to collaborate on a book of interviews, Truffaut shrewdly appeals to Hitchcock’s ego and his unique relationship with the medium itself. Truffaut tells Hitchcock, "Beaucoup de cinéastes ont l’amour du cinéma, mais, vous, vous avez l’amour de la pellicule" – "Many filmmakers have a love of cinema, but you, you have a love of the film itself." This statement resonates deeply because it recognizes Hitchcock’s unparalleled mastery of cinematic technique and his almost visceral connection to the physical material of filmmaking. Hitchcock’s emotional response, "Votre lettre me fait venir les larmes aux yeux" – "Your letter brings tears to my eyes," is a powerful indicator of Truffaut’s ability to connect with his subject on a profoundly personal level.
The subsequent publication of "Le Cinéma selon Hitchcock" (Hitchcock/Truffaut), stands as a testament to Truffaut’s vision and his profound impact on film criticism. The book is widely regarded as a seminal work, a model for future director interviews, and a crucial contribution to our understanding of Hitchcock’s genius. The anecdote demonstrates Truffaut’s astute understanding of human psychology, his ability to craft a compelling argument, and his commitment to preserving and promoting the art of cinema.
The letters are described as being "pleines de malice et d’intelligence," filled with wit and insight. Everyone seems to be asking Truffaut for something, a testament to his influence and his position within the film industry. This observation confirms that Truffaut was indeed "le patron," the boss, a figure of authority and respect. He was a central figure, a connector, a confidant, and a leader, influencing the direction of French and international cinema.
The enduring relevance of Truffaut’s work is further emphasized by the mention of the 40th anniversary of his death, highlighting that his films continue to resonate with audiences today. The success of his films, even decades after their initial release, speaks to the timeless quality of his storytelling and the universal themes he explored. The article, therefore, is not just a reflection on Truffaut’s letter-writing habits but also a celebration of his legacy as one of the most important and influential filmmakers of all time. His letters offer a unique window into his creative process, his relationships with other filmmakers, and his enduring passion for the art of cinema, providing invaluable insights for scholars, filmmakers, and cinephiles alike.
In essence, the article paints a portrait of François Truffaut as a man deeply engaged with his art, a skilled communicator, and a central figure in the world of cinema. The letters are not merely personal correspondence, but valuable historical documents that shed light on the creative process and the inner workings of the film industry. The act of physically writing and receiving letters itself becomes a symbol of a bygone era, a time when communication was more deliberate, more personal, and more enduring, contrasting sharply with the ephemeral nature of modern digital communication. The author’s initial statement regarding the potential unhappiness emails might have caused Truffaut underscores this very point, emphasizing the value of tangible connection and thoughtful expression in a world increasingly dominated by fleeting digital interactions. The article acts as a compelling invitation to delve into Truffaut’s correspondence, promising a journey into the mind of a cinematic visionary and a deeper understanding of the art of filmmaking.
