Mr. Truffaut matches this with his vigorous, shorthand style, "squeezing" time with numerous ellipses.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Chabrol began his career in 1956, earning his stripes alongside fellow New Wave directors Jean-Luc Godard and Francois Truffaut.
CNN: Veteran new wave filmmaker seduces French starlet Sagnier
Godard, Truffaut, Bertolucci, Fassbinder, Fellini and Visconti are among the foreign directors introduced to these shores by the NFT.
Although he enjoyed screenwriting, Mr. Truffaut frequently turned to novels for his inspiration.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
His parents Franz and Helen Hessel (born Grund) inspired two of the characters in Francois Truffaut's classic romantic film Jules And Jim.
Offering everything from sturdy perennials to hardwood gazebos and citronella flares, brands such as Truffaut, Jardiland and Gamm Vert have taken root.
The word gained credence in the 1950s when it was used by the then-critic Francois Truffaut to describe directors with a recognisable visual style.
Mr. Truffaut described it as "a hymn to love, and perhaps a hymn to life itself, " and its optimism still shines with a welcome sincerity.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Like Jim, Mr. Truffaut himself had need of adventure and risk.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Mr. Truffaut even claimed that it was his discovery of "Jules and Jim, " when he was a 21-year-old film critic, that made him determined to take up directing.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Ms. Moreau, who had enjoyed a fleeting affair with Mr. Truffaut during preproduction on "Jules and Jim, " invests her character with a breathtaking range of feeling, from complicity to ardor.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Rather than leaving filmmaking to the likes of Fellini, Scorsese or Tarantino, each of us can now be a mini-Truffaut, adding our two cents to the existential conversation via these projects.
Mr. Truffaut uses all manner of quirky techniques, from old-fashioned irising in or out of an image to shots that are frozen in the midst of movement, creating a flip-book effect.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Truffaut balances his hopeful plot on a tightrope of coincidences and narrow escapes that horrifically suggest the abyss that engulfed so many men and women of the artistic and political underground.
Along with Jean-Luc Godard, Francois Truffaut, Claude Chabrol and Jacques Rivette, all former film critics, he helped pioneer an informal film movement that turned traditional notions of narrative and style on their head.
Early on, the picture offers some fine, flowing scenes of the gang tearing down the street with all the zip and glee of Truffaut kids, and loping and shoving, angular and energetic, across the basketball court.
His contemporary Jean-Luc Godard may have stolen the intellectual limelight, as Pablo Picasso did from Henri Matisse, but as the years pass Mr. Truffaut's unashamed passion and exuberant skill confirm him as the most lovable of all French New Wave directors.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
With this abiding classic of the 1960s, Mr. Truffaut leapfrogged back a generation to join his idol, Jean Renoir, and reasserted the virtues of naturalism and vivacity that had been treated with disdain by French directors of the late 1940s and early 1950s.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
Truffaut gives the film a sleek, futuristic design (with sharp retro touches) and a flamboyant palette, and offers a dazzling panoply of cinematographic techniques (including slow-motion photography and superimpositions) to conjure the psychic derangements of life in an irrational yet chillingly ordered world.
It proved an instant hit in the U.S., and launched a love affair between Mr. Truffaut and the art-house audience that would continue throughout the 1960s and '70s, with no fewer than three of his features opening the New York Film Festival between 1970 and 1976.
WSJ: Jules and Jim | For the Love of a Fickle Woman | Masterpiece by Peter Cowie
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