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By Wheeler Winston Dixon

Earlier than turning to filmmaking, Francois Truffaut was once a movie critic writing for Cahiers du Cinema in the course of the Fifties. The Early movie feedback of Francois Truffaut makes to be had, for the 1st time in English, articles that initially seemed in French journals corresponding to Cahiers du Cinema and humanities. Truffaut discusses motion pictures through such stated masters as Hitchcock, Huston, Dymytryk, and Lang, but additionally examines the paintings of such lesser-known administrators as Robert clever, Don Weis, and Roger Vadim.

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However, as a "director for hire,'' Lang often had to compromise with his producers. As Lang told Peter Bogdanovich in Bogdanovich's book Fritz Lang in America, the production of While the City Sleeps (1956), for example, was not without its difficulties. , had to contend with frontoffice interference on an almost daily basis. 1 Truffaut is quite sensitive to these difficulties in his appraisals of Lang's later films, even without specific knowledge of them. "2 Unfortunately, this great commercial success eluded Lang, and certainly not without reason.

Perhaps this is because he only chose to review those films he admired; perhaps it is because he reserved his real critical scorn for films which he felt were pretentious, the quality he despised most in the cinema. His paragraph on Room for One More (French release Title: Cette sacreé famille) (surely the French title is preferable) finds Truffaut praising as a "masterpiece" a film that he simultaneously excoriates as having "the most hypocritical scenario, the basest demagoguery" that he has ever witnessed in a Hollywood film.

Nevertheless, this piece belongs with Truffaut's other. work on genre films. " A Life of Her Own (French release title: Ma vie à moi) is surely a minor addition to the Cukor canon, but still Truffaut prefers it to David Lean's Brief Encounter (1946), because Cukor's film aims for less and so accomplishes more. " This film seems more maudit than most Cukor projects: Ray Milland and Lana Turner make a very odd couple indeed. Yet Truffaut still places this film with Vacation (known as Holiday in America), The Philadelphia Story, and Little Women, by implication citing these films as some of Cukor's most accomplished work.

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