Acknowledgments
Page 12-15
The Films of François Truffaut
Page 16-17
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In His Own Words I
Page 35-35
Roland Lévy and Roland Truffaut
Page 36-38
Early Films: François and Sam
Page 39-43
The Godfather: André Bazin (1918–1958)
Page 44-48
1 January 1954: “A Certain Tendency in French Cinema”
Page 49-53
The Mischief Makers (1957): Some Boys and a Girl on a Bicycle
Page 54-56
Films Truffaut Didn’t Make I
Page 57-60
Some Titles for The 400 Blows (1959)
Page 61-62
Making Films Together: A Letter to the Cast and Crew of The Last Metro (21 January 1980)
Page 63-65
The 400 Blows: A Life on Film
Page 66-74
Jean-Pierre Léaud with Truffaut, Jean-Luc Godard, and Bernardo Bertolucci
Page 75-81
Robert Lachenay (1930–2005): The Best Friend and the Ancillary Life
Page 82-84
Sacha Guitry (1885–1957): Le Roman d’un tricheur and The 400 Blows
Page 85-87
Shoot the Piano Player (1960): All You Need Is Love
Page 88-92
Shoot the Piano Player and a Debt to the Past
Page 93-94
Truffaut’s Breathless and Jean-Luc Godard’s
Page 95-96
A Posthumous Questionnaire (January 2015)
Page 97-102
Truffaut in His Letters
Page 103-107
Jules and Jim (1961): When We Speak of Freedom and Love and Death
Page 108-116
Eric Rohmer’s La Collectionneuse (1967) and Jules and Jim
Page 117-119
Julian Barnes’s Talking It Over (1991) and Jules and Jim
Page 120-121
Salman Rushdie’s The Ground beneath Her Feet (1999) and Jules and Jim
Page 122-124
Truffaut in and out of His Time
Page 125-126
Carlos Saura on The Soft Skin (1964), Obliquely
Page 127-128
The Auteur and the Empty Room
Page 129-131
Meeting Jeanne Moreau in Venice
Page 132-136
Truffaut Looks back to Godard: Fahrenheit 451 (1966) and Alphaville (1965)
Page 137-137
Fahrenheit 451 and Truffaut’s English
Page 138-140
The Bride Wore Black (1967)
Page 141-143
Jacques Demy, Catherine Deneuve, Françoise Dorléac, and Truffaut
Page 144-146
Stolen Kisses (1968): A Debt to Marcel Proust or Anatole France
Page 147-148
David Thomson’s Mississippi Mermaid (1969)
Page 149-150
Fahrenheit 451 (1966), Week-end (1967), The Wild Child (1969): A Dialogue?
Page 151-154
Maurice Pialat’s Wild Child: L’Enfance nue (1968)
Page 155-156
Woody Allen’s Deconstructing Harry (1997) and Antoine Doinel
Page 157-158
Patrice Leconte’s The Girl on the Bridge (1999)
Page 159-160
“François, My Boy” and “Mr Hitchcock”
Page 161-165
Truffaut’s Typewriters
Page 166-168
The Ending of Two English Girls (1971)
Page 169-173
Two English Girls, Agora (2009), and Seeing Red on the Screen
Page 174-176
Truffaut, Godard, and Timbres
Page 177-178
Truffaut’s Afterlife: The Diving Bell and the Butterfly (2007)
Page 179-180
Johnny Guitar (1954): Bad Faith in Truffaut and David Thomson
Page 181-183
A Title Quiz
Page 184-184
Creativity and Accidents
Page 185-188
Day for Night (1973): The Family Movie
Page 189-192
Day for Night, Wes Anderson, and American Express
Page 193-195
8 1/2 (1963), Day for Night (1973), Stardust Memories (1980), Nine (2009)
Page 196-197
Pauline kael, Wim Wenders, and Truffaut
Page 198-202
Truffaut, Adam Zagajewski, and the Fate of Spirit
Page 203-203
Truffaut in The Squid and the Whale (2005)
Page 204-206
Truffaut and Paul Léautaud (1872–1956)
Page 207-211
Montmartre and “Certification”
Page 212-213
The Story of Adèle H. (1975): Truffaut’s Feminism
Page 214-218
Truffaut and Deneuve in The Story of Adèle H.
Page 219-221
A Dream: The Story of Adèle H. and Elle
Page 222-223
Small Change (1976) and Renoir’s The River (1951)
Page 224-226
An Aged Man is But a Paltry Thing
Page 227-229
Ingmar Bergman, Cavaleur
Page 230-232
Fame: Daphne Moon, Niles Crane, and a Truffaut Film
Page 233-233
The Man Who Loved Women (1977): Truffaut and Don Juan
Page 234-236
João César Monteiro’s A Comédia de Deus (1995): The Man Who Loved Girls
Page 237-238
Leslie Caron
Page 239-241
Suzanne Schiffman (1929–2001)
Page 242-244
Trufard and Godfaut: Resemblances
Page 245-246
Balthus (1908–2001)
Page 247-248
Film Names: Who Remembers Michel Poiccard and Patricia Franchini?
Page 249-253
The Green Room (1978): The Man Who Loved One Woman
Page 254-262
A Short History of “Dummies”: Luis Buñuel, Truffaut, and Oskar kokoschka
Page 263-267
The Sentence that Sticks
Page 268-270
Pauline kael’s Farewell to Truffaut and Godard
Page 271-273
Paul Schrader’s Tears
Page 274-275
The Last Metro (1980): François Truffaut-Lévy
Page 276-281
Subtitles and Voices
Page 282-283
Roberto Rossellini (1906–1977): The Italian Godfather
Page 284-286
The Woman Next Door (1981): “Neither with you nor without you”
Page 287-290
Fanny Marguerite Judith Ardant
Page 291-292
François and Sam: Some Favourite Films
Page 293-293
A Godard Dream (26 June 2011)
Page 294-296
Le Journal d’Alphonse: A Doinel Sequel
Page 297-300
In His Own Words II
Page 301-301
Truffaut’s Afterlife: Amélie (2001)
Page 302-304
Antoine de Baecque’s Two in the Wave (2010)
Page 305-307
Unfinished Business: Films Truffaut Didn’t Make II
Page 308-311
The Grave in Montmartre
Page 312-314
Bibliography
Page 332-343
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