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"Hitchcock/Truffaut" (2015 release; 80 min.) is a documentary based on the ebook of the same name, originally published in 1966. The ebook was essentially a transcript of a week-long interview/conversation between directors Alfred Hitchcock and Francois Truffaut. As the film opens, we are given a fast historical context within which these conversations took place, and the different contemporaries (Martin Scorsese, Wes Anderson, David Lynch, etc.) deliever their further perspectives. To say you more would spoil your viewing experience, you'll just have to see it for yourself.Couple of comments: first and foremost, if you are a film aficionado, you are in for a finger-lickin' nice time, as two of the giants in film history dissect Hitchcock's oeuvre in a manner that we have not seen before, and along the method we also receive a new and better understanding of Truffaut's oeuvre. But let's be clear: this documentary is mostly about Hitchcock, and at times it feels that the ebook simply serves as an excuse to examine Hitchcock. But we admittedly also receive a clear understanding as to why the ebook was much more than just a ebook for Truffaut and that it was as necessary as any movie he made. While Hitchcock's whole career is looked at (including the very early days), the documentary spends more time on two Hitchcock movies than any other: Vertigo and Psycho. We also receive a clear understanding why Hitchcock claimed that "all actors are cattle", which makes the director of this documentary (the to me previously unknown Kent Jones) wonder how outspoken/strong-willed icons like Robert de Niro, Al Pacino and Dustin Hoffman would have fared under Hitchcock. One of the greatest details of the documentary is that the audio tapes of the week-long conversation between Hitchcock and Truffaut have survived and are used heavily (along with still photographs from those sessions). It's like we're having a seat at the table along with these film giants and the interpreter. I only wished that the film lasted longer than its all-too-brief 80 min. running time."Hitchcock/Truffaut" opened this weekend without any fanfare or advertising at my local art-house theater here in Cincinnati. I figured this will not be testing very long, so I went to see it right away. The Friday evening screening where I saw this at was attended okay but not great. Given the lack of any marketing for the movie, this didn't come as a surprise. That said, if you love films and wish to receive fresh insights on Hitchcock and Truffaut, you simply cannot go wrong with this, be it in the theater, on Amazon Immediate Video, or eventually on DVD/Blu-ray. "Hitchcock/Truffaut" is HIGHLY RECOMMENDED!
HITCHCOCK/TRUFFAUT (2015) **** Cinephelic wet dream - fine documentary about how acclaimed filmmakers Francois Truffaut - a then up-and-coming Fresh Wave French director - managed to coerce The Master of Suspense, Alfred Hitchcock for a week long series of in-depth convos on the latter's filmography and the thought process/creative urls they both shared resulting in a treatise book/filmmakers/goer's bible and actually the end result. Interspersed with fellow disciples of cinema Martin Scorsese, James Gray and brimming with talent David Fincher discuss how Hitch's influences enforced their own visions as well as groundbreaking the format for ages to come. Compiled by Kent Jones with appreciation and love. Go; enjoy.
The only section missing in the movie is a discussion of the MUSIC in Hitchcock movies especially the work and career of BERNARD HERMANN! Neither director touched on the scores for VERTIGO, PSYCHO, or THE BRIDE WORE BLACK. Others like WAXMAN and TIOMPKIN were also neglected! Soundtracks are an integral part of both director's work! Shame on you! Also there was no discussion of the score for TORN CURTAIN! Why no Hermann score and a substitute for one by by John Barry? You can write an whole ebook on movie noir melody or THE SOUNDS OF DARKNESS. Think about PSYCHO and the "shower scene" without music. It loses its chilling effect. What about James Stewart hanging from a roof gutter in VERTIGO? And that haunting "love theme" in VERTIGO, when Stewart is following Kim Novak in his vehicle and the crescendo of waves breaking vs the shore when they finally embrace? I can cite many more moments where melody was crucial to a stage in Hitchcock's work, too many to enumerate here. I just had wished the directors and filmmakers would have discussed this necessary phase of both director's work. Dr. Ronald Schwartz at [email protected] Manhattan
New York, NY 10013
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