The story of what happened when two giants of European cinema sat down to discuss their approaches to filmmaking.
In 2012 Sight & Sound published the British Film Institute’s Greatest Film poll. Conducted every ten years, critics, academics, and distributors are surveyed. Bicycle Thieves won the first poll in 1952. Since 1962 Citizen Kane sat in pole position and many thought it would reign supreme as the unbeatable champion. Although it came close to toppling Kane in 2002, news that Vertigo had finally taken the crown in 2012 was met with surprise. That it had won the poll by a very wide margin suggests it will probably retain the title when the next poll is conducted in 2022.
Vertigo‘s achievement was surprising because it was not always held in such high esteem. Taken out of circulation after it failed to meet expectations at the box office, the only way to see the film until the mid-80s was via illicit screenings of bootleg 16mm prints. Since it’s mid-80s re-release the film and it’s director has undergone a complete critical reevaluation.
Today regarded as one of Europe’s most significant directors, Hitchcock was not always held in such high esteem. Further proof of his continued cultural significance was offered by the BFI who ran a retrospective of his surviving works. In 2013 UNESCO added the nine existing Hitchcock silent films to its archive to represent the UK’s cinematic heritage. Hitchcock’s influence over modern cinema is undeniable and contemporary film fans are often surprised at learning that he was once regarded as a mere peddler of mass entertainment.
French critic and director, François Truffaut regularly visited the Cinémathèque Française as a teenager and was exposed to numerous Hollywood films. Befriending André Bazin the co-founder of influential film publication Cahiers du cinéma, Truffaut joined the magazine’s writing team and developed the auteur theory which noted the recurrence of themes and techniques in the work of “great directors.” Emphasising the director as author of a film, his theory was initially controversial.
While in France filming To Catch a Thief, Hitchcock was interviewed by Claude Chabrol and François Truffaut for Cahiers du cinéma. The magazine had published an issue celebrating the director’s work in 1953 and was planning another to be published in the summer of 1956. Challenging the then widely held view that Hitchcock was merely a director-for-hire churning out lurid schlock, Truffaut and Cahiers du cinéma helped define the modern sense of Hitchcock as one cinema’s greatest artists.
American film critic Andrew Sarris applied Truffaut’s Auteur Theory to an analysis of Hollywood cinema and declared “Hitchcock is the most daring avant-garde filmmaker in America today.”
Feeling that Hitchcock had been evasive in their first meeting, Truffaut wrote to the director and proposed a lengthy interview conducted over several days which would discuss the core elements of a Hitchcock film, approaches to filmmaking, and theories of storytelling. Hitchcock agreed and Truffaut flew to Hollywood with translator Helen Scott. Eight days of discussion cemented Hitchcock’s critical rehabilitation. The recordings were transcribed and published in France. An English translation was issued in 1967.
Demystifying filmmaking, the book has for decades been regarded as one of the foremost texts of cinema appreciation and analysis. In recent years the authenticity of Hitchcock’s statements has been questioned due to his responses being translated into French and then translated back into English.
Kent Jones enlightening film tells the story of what happened when the Master of Suspense met La Nouvelle Vague’s shining light. Using extracts from the tape-recorded conversations we finally have an unambiguous record of what Hitchcock said over the course of those eight days.
A key moment in the history of film criticism, Truffaut’s credentials as a director and intimate knowledge of Hitchcock’s work keep the veteran filmmaker on his toes and ensure the interview never descends into effusive gushing. Hard-core Hitchcock enthusiasts and newbies will be educated by this engrossing documentary.
Analysing key sequences from several Hitchcock films, most notably Vertigo and Psycho. The documentary also includes Hitchcock’s critical comments on a Truffaut’s shot by shot breakdown of a sequence from The 400 Blows.
Recorded when film criticism was still in its infancy, Truffaut’s encyclopaedic knowledge of thematic continuity in Hitchcock’s still stands up today as a superb work of scholarship. It’s easy to forget in the age of DVD and online streaming how hard it was to gain access to films for study purposes back then. Detecting a recurrent thread of Roman Catholic symbolism he verbally pins down Hitchcock until the veteran admits how his formative years are continually woven into his films.
Modern day perspectives from David Fincher, Olivier Assayas, Martin Scorsese, Arnaud Desplechin, Wes Anderson, James Gray, and Richard Linklater highlight why Hitchcock’s fingerprints are all over contemporary cinema.
A must-have DVD for anyone who wants to learn more about the Master of Suspense.