A Noite Americana

La Nuit Américaine is an interesting movie with celebrated French director Francois Truffaut playing a director making a movie. He proves to be a modest and convincing actor himself while patiently weaving a tale about how movies are made and how intense the emotional interactions among those making the movie can be.

Don't give up on this one too soon. It starts slow and seems almost amateurish because of the relatively low-tech way the film within the film is being shot. Truffaut gives us a glimpse of how the production crew works together (and sometimes at odds) while showing us some of the things that can go wrong while making a movie. He begins with the technical details of the production but before long begins to concentrate on the personalities of the movie-makers and their individual stories. Each story is carefully crafted in a somewhat leisurely way almost like the characterizations in a soap opera (without of course the phony drama and mass market sentimentality seen on TV). Truffaut's fine sense of emotional conflict and how conflict might be resolved makes the various stories touching without being maudlin.

Jacqueline Bisset who stars as English actress Julia Baker who plays the title role in the film within the film (May I Introduce Pamela?) doesn't make her appearance until about a fourth of the way in. She is a delight as an actress with a heart of gold recovering from a nervous breakdown married to an older man whom she does indeed love. Jean-Pierre Leaud, whom most viewers will recall as the running boy in Truffaut's The 400 Blows, plays a young and not entirely confident actor who gets jilted by the script girl who runs off with the stunt man during production. Bisset's warm and sisterly befriending of Leaud is, shall we say, entirely French (which gets her into trouble with her husband). This really is a skillful showcasing of Bisset since she gets to play something like an ingenue with her husband and the older woman with Leaud. Be careful you might fall in love with her.

Valentina Cortese in a fine supporting role does a most convincing job of playing the temperamental Italian actress just past her prime who quaffs champagne while working, who forgets her lines and can't find the right door, but when properly indulged gives a great performance.

My problem with this movie is I saw the dubbed version and of course that is disconcerting because one is constantly trying to reconcile the visualized actor with the dubbed one. To see Jacqueline Bisset who is beautifully fluent in both English and French speaking French while at the same time hearing someone else speaking English for her is just a bit too much to take. I understand that the DVD version is in French with subtitles. I would recommend that you get that and not the dubbed video.

Truffaut is the kind of director who allows the audience to penetrate not only his characters to see what makes them tick, but also the stars who play those characters. He does a particularly beautiful job with Bisset who is warm and wise and something close to heroic, and with Leaud whose childishness seems natural and whose pettiness forgivable. Don't believe those reviewers who think this is a slight film. It is carefully crafted and very well thought out and is a fine example of the work of the one of the great directors of the French cinema. See it for Truffaut whose delicate genius is evident throughout.

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I dare anybody to resist becoming involved with the characters in 'La Nuit Americaine". This is brilliant cinema storytelling upheld by a superb cast (my favorite is Nathalie Baye as the Continuity Girl - and not because she speaks the best line in the film; but Valentina Cortese's turn as Severine is delicious too). The editing here, too, is a tour de force of film art - actually, I'm surprised that few critics have mentioned it in their rush to acclaim 'La Nuit Americaine' as <<la grande hymne a la cinema>>. Most of all this film is as densely layered and as sweet as a Napoleon pastry - indeed, near its ending Truffaut lavishes its set with frosting.

Some claim that 'La Nuit Americaine' has dated. Well, it can date me any day, anytime, anywhere (and, yes, that was an oblique reference to the best line Nathalie Baye delivers). With this film Francois Truffaut cut and polished and gave, from his intellect and heart, a gem whose facets and heart will sparkle eternally. An absolute must for everyone's "don't miss" list.

In Nice, the Studios La Victorine is producing the film "Je Vous Presente Pamela", about a French man that marries the English Pamela in England and brings his wife to France to introduce her to his parents. However, his father and Pamela fall in love with each other and she leaves her husband to live with her father-in-law. The producer Bertrand (Jean Champion) and the director Ferrand (François Truffaut) invite the British Julie Baker (Jacqueline Bisset), who had a nervous breakdown and married her Dr. Nelson (David Markham), to the role of Pamela.

Along the shooting, the cast and crew are lodged in the Hotel Atlantic and Bertrand and Ferrand have to deal with problems with the stars Severine (Valentina Cortese), an aging artist with drinking problems that affect her performance; the immature, spoiled and needy Alphonse (Jean-Pierre Léaud); Julie that is emotionally unstable. But in the end, they succeed to complete the film.

"La Nuit Américaine" is a film about making a film and a great tribute to the cinema. This is one of my favorite Truffaut's films and the last time I saw it was on 08 January 2001.

It is impossible to highlight performances in this film, but the mesmerizing beauty of Jacqueline Bisset shines. Jean-Pierre Léaud performs his usual role of an insecure man, using the same gestures of Antoine Doinel.

In 1992, Louis Malle explored the storyline of "Je Vous Presente Pamela" in "Damage". My vote is nine.

Title (Brazil): "A Noite Americana" ("The American Night")

When making movies, it appears, there's many hurdles, the behaviour of the crew can make blood curdle, you need to keep hold of your senses, repair, rebuild, renew strained fences, as you spin, rotate and turn around in circles. Most common are the fraught relationships, musical chairs and their resulting partnerships, bonds are formed and bonds are broken, sometimes strong, quite often token, but they're guaranteed to challenge, the film script.

François Truffaut genially introduces us the often chaotic and unpredictable world of filmmaking, the perpetual challenges from the people, product and process, and the diplomatic way all manner of banana skins are traversed. Highly amusing, and with many parallels to more ordinary lives and livings, it's sure to bring a smile to your face.

"No sentimentality - just play notes!" is the instruction we hear over the credits that open "Day For Night". About three seconds later, we see silent film stars Dorothy and Lillian Gish striking highly theatrical poses, with a signed inscription by director Francois Truffaut saying the film has been dedicated to them.

So is sentimentality a good thing or a bad thing? Truffaut may be playing it both ways, yet "Day For Night" makes a great argument in both directions. You need to feel something to pour so much heart and soul into movie-making, but you also need to be hard-hearted, say for example if an actor dies before a film is wrapped or a cat won't drink milk on cue. "Day For Night" strikes an amazing balance between hard and soft, happy and sad, comedy and tragedy, and in the end offers a unique take not only on movies but on life itself.

"What a funny life we lead," says the aging starlet Severine (Valentina Cortese), summing up "Day For Night's" take on the ephemerality of both departments. "We meet, we work together, we love each other, and then, as soon as we grasp something - pfft - it's gone. See?" But if there is some consolation in Truffaut's view, it is the companionship life offers, especially on a film set, where families of intense passion and strength can sprout up in an instant.

Cortese is a treat, with both her sweetness and her lighter moments. Severine tries to make a dramatic exit in one scene but keeps opening a closet door. Everyone in this film shines in some way, selling you utterly on the idea you are not watching a movie but eavesdropping on a real set, even as Truffaut constantly makes references to the fact "Day For Night" is a movie. Jacqueline Bisset plays an actress known for being in "that movie with the car chase" while Jean-Pierre Léaud's character's girlfriend complains "he wants the whole world to pay for his unhappy childhood."

Truffaut was responsible for Léaud's unhappy childhood, of course, but, avoiding sentimentality, makes his young actor protégé more of a heavy and comic foil this time out, playing not Antoine this time but another fellow named Alphonse. Léaud rewards his director with a genuinely funny take-off on his intensity from other Truffaut films.

I also love Bisset, who as Julie gives the film a bit of real heart as the one character who has something of a life beyond movies, with a middle-aged lover she cares for almost sheepishly. Yet it is she who exemplifies "the show must go on" by risking her life outside the picture in order to save the picture itself.

Even Truffaut does a good turn as a major character, playing a film director. Truffaut always worked best as a slightly ruffled authority figure, here urging a tipsy Severine not to go through her difficult scene reciting numbers: "In France, we have to say the lines!"

There's very little I would want to change in this film, not even the garish 1970s clothes which give this film an appropriate aura of informality. It's soapy, yes, but so's life at times, and like life, it really makes you want to stick around for the moments it gets right. Sentiment may be dangerous to performance, but it seems worth having around in the end.