Critique of Franois Truffaut with Special Reference to His Treatment of Women and His Role in the New Wave

Movement
Rhee, Young Mi Film Studies Dept., Cambridge College of Art, UK

1. Introduction
In the late of 1950s, some young filmmakers in France achieved international prominence for their highly critical films on society and individualistic style of filmmaking which emphasizes visual techniques. Francois Truffaut was one of the leading figures in the New Wave film movement which dominated in French cinema well through the 1970s, and inspired many film directors around the world. This essay will first demonstrate Truffauts biographical information and then attempt to explore the images of women which are presented in Truffauts films and examine how themes relevant to women throughout Truffauts films. Finally, his role of French New wave will be discussed.

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2. Biological Information
Franois Truffaut(1933-1984) was one of the world famous directors whose own personal life reflected his films in a various way. For this reason, his biological elements are useful to comprehend his ideas and themes in his masterpieces. Truffaut was born in 1933 who didnt know who his father. Due to the fact that he was also abandoned by his mother, he spent early years with his maternal grandmother. Therefore, his unhappy family setting caused him to be a troublemaker at home as well as at school. He found his true family in the cinema, being tired of childhood deprivation and strict school system(Neupert. R 2009:164). His passion for films led him to organize Cin-club around the age of 15. Yet he failed to run the club. When he arrested owing to his unpaid club bills, Andr Bazin who was known as one of the most influential film critic at the same time, Truffaut would be deeply inspired by his critical intelligence, saved and took care of him as a substitute father(Insdorf, 1994). Truffaut was not only a film critic but also a leader of the French New Wave. In addition, as a filmmaker he made more than 22 films including his first short film, Les Mistons(1954). Unfortunately, he died of brain tumor in 1984.

3. Truffauts attitude towards women

Truffaut devoted himself to creating a variety of female portraits through his films. Insdorf. A(1998) cites that it is far too challenging

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to generalize his female characters which were exposure to his films because they can be as repellent as attractive, as destructive as warm, as absolute as adaptable, and as inclined toward madness as love.

1) Fascination with women

Through Truffauts life he was always surrounded by sensual characteristic actresses of the time involved in his films. His passion for women is mainly physical since he talks about their external appearance, namely body rather than about their personality. For instance, in Truffauts first film, Les Mistons(1958), which explore the adoration of one woman by a group of young boys, the audiences can see the woman, Bernadette particularly from the young boys. She is the object of affection(Insdorf, 1994), especially when she pedales her bicycle, the camera emphasizes on the way Bernadettes skirt flew up. In the Kidnapping scene of Shoot the Piano Player(1960) one of the gangsters tells how his father was killed in a car accident because he was looking at a woman; they discuss how women torment men with makeup, brassieres, and stockings. Although he is preoccupied with feminine beauty, he strives for improving the images of women rather than misuses it. Holmes and Ingram(1998) point out that womens body in Turffauts films such as The Man Who Loved Women(1977), is presented through males subjective viewpoint. From this point of view, Dixon(1993:3) argues that Truffauts pre-feminist attitude and insistence on viewing the female body as an object can become quite disconcerting. However Truffaut is extremely aware of that and he suddenly changes the situation. At the end of The Man Who Loved

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Women, Bertrand is punished for his male chauvinism. Looking at two attractive women, Bertrand is crushed under the car and then when he wakes up at the hospital, the first thing he sees is the nurses legs and he tries to sit up but falls down and die.

2) Are Women magic?

The question Are Women magic? means that there is something mysterious and complex. The answer about this question seems to me Yes. Throughout Truffauts films female characters are considered as a super heroine such as a goddess but above all as a vulnerable human. From this perspective, For instance, Catherine in Jules and Jim(1961) which had great attention to the audiences, is willing to have a central position among her lovers in demanding a freedom for herself that she will not permit in them. However, her human emotions conflict with her superhuman identify(Insdorf, 1994). Although Catherine, who keeps a passionate relationship with three men, seems to have a great power to control three men, she ends up killing herself and Jim. Each time Truffaut encourages female characters to push to their limits since they are exaggerated. Yet these extreme cases are not suitable solution for Truffaut as he suggests an alternative for love and relationship between female and male. In a few of his films he argues that a woman does not choose between two lovers while she loves more than one simultaneously(Insdorf, 1994:114).

3) Hatred toward women or mother

Some argue that Truffauts attitude towards women as defensive and vengeful (Holmes and Ingram 1998). Susan Hayward(1994: 50,

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52) claims that the nice-guy Truffaut is an imposter who serves to conceal the suppressed misogyny of filmic scripts which continually punish the mother for the absence of the father. However, it should be understood that the frustrating relationship Truffaut had with his mother has partly determined his image or idea about women that he keeps still promoting in his films. For example, the difficult relationship Truffaut had with his mother is reminded in all the books of this fact helps to understand the harsh representation of the mother character in films such as The Man Who Loved Women and The 400 Blows. Hence it doesnt seem that the lack of affection for his mother leads him to make some misogynic film. From this point of view, he cannot be regarded woman as a misogynist as he really loved and respected for women.

4. Role in French New Wave Movement

1) French New Wave
The French New Wave namely Nouvelle Vague was a revolutionary movement led by young French directors in the late 1950s and early 1960s. The idea of the movement was initiated by a small group of critics such as Jean-Luc Godard, Franois Truffaut, Eric Romer, Claude Chabrol among others from Cahiers du Cinmea, an influential French film journal. They were against tradition of quality, thus tried to produce the most fresh as well as innovative features without well-known movie stars and big financial support. Moreover, they experimented

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with their new technique in their films. For this reason the spirit of French New Wave has still inspired moviemakers the world over(Williams, 2002).

2) Leader of French New Wave

Auteur theory means that film directors should play more central role than screenwriters. What is more, only film directors take the most responsibility of expressing his personal idea or artistic creation in his whole movie. The idea of auteur theory was originated by Truffauts writing A Certain Tendency in French Cinema in 1954(Gazetas.A 2000). Francois Truffaut contributed to raising the status of director in cinema, criticizing severely that some films tend to rely only on the star system and well-know screenwriter in order to make instant commercial success or to win a reputation in international film festival. Furthermore, he regarded film director as an artist rather than a technician who made a movie led by a screenwriter. For instance, he involved not only screenwriters but also film director in the films such as The 400 Blows(1959) which expressed his own personal life(Holmes.D 1998). He also experimented with his own style throughout his films. For example, in Les Mistons (1957) he was likely to create discontinuity at important moments with the help of the shift from a high angle to an eye-level shot(Neupert, R 2009). Besides, another significant element of his stylistic traits is lightning, that is exterior shooting with natural lighting and direct sound. It made possible for young directors involved in New Wave to make a low-cost feature(Holmes and Isgram 1998).

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5. Conclusion
The aim of this essay will criticize a French filmmaker, Franois Truffaut focusing on themes and characteristics which presents in his features as well as his theory of film. Franois Truffaut is an influential critic-turn-film director whose own personal life reflects his films. Autobiographical strains presented in his films lead him to be in artistic and commercial success. His unhappy relationship with his mother also has influence on his attitude toward women. Despite the fact that women are described as a subject of males viewpoint in Truffauts work, he contributes to sublimating their beauty in art. Moreover, he lavishly praises female characters for their powerful yet fragility throughout his films. Consequently, all his films are based on Auteur theory. His theory and critic is evident that he plays an important role in French New Wave.

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References
Dixon, W. The Early Film Criticism of Franois Truffaut. Bloomington and Indianapolis: Indiana University Press. 1993. Gazetas, A. An Introduction to World Cinema. North Carolina. 2000. Insdorf, A. Franois Truffaut. Cambridge: Cambridge University Press. 1994. Holmes, D. & Ingraim, R. Franois Truffaut. Manchester: Manchester University Press. 1998. Nadja, G. To act or to perform: distinguishing filmic autobiography. Biography, v29 i1. 2006. p.1(13). Neupert, R. Wisconsin Studies in Film History of the French New Wave Cinema(2nd. Ed.). Chicago: University of Wisconsin Press. 2009. Stam, R. Franois Truffaut and friend, Modernism, Sexuality and Film Adaptation. Rutgers University Press. 2006. Williams, P. The French New Wave Revisited Movie Maker http://www.moviemaker.com/directing/article/the_french_new_wave_re visited_336613.Nov 2002. Spotlight. The diverse career of the great director.: Franois Truffaut Features The Times (London, England) 2011. Feb 5, p.11.

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Abstract

Critique of Franois Truffaut with Special Reference to His Treatment of Women and His Role in the New Wave Movement
Rhee, Young Mi Film Studies Dept., Cambridge College of Art, UK

The aim of this essay will criticize a French filmmaker, Franois Truffaut focusing on themes and characteristics which presents in his features as well as his theory of film. This essay will first demonstrate Truffauts biographical information and then attempt to explore the images of women which are presented in Truffauts films and examine how themes relevant to women throughout Truffauts films. Finally, his role of French New wave will be discussed. Franois Truffaut is an influential critic-turn-film director whose own personal life reflects his films. Autobiographical strains presented in his films lead him to be in artistic and commercial success. His unhappy relationship with his mother also has influence on his attitude toward women. Despite the fact that women are described as a subject of males viewpoint in Truffauts work, he contributes to sublimating their beauty in art. Moreover, he experimented with his new technique in his films. For this reason the spirit of French New Wave has still inspired movie-makers the world over. Consequently, all his films are based on Auteur theory. His

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theory and critic is evident that he plays an important role in French New Wave. Key words: Franois Truffaut, Auteur theory, French film, French New wave

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