Day For Night Vs. Contempt
Written by Joe D on November 22nd, 2018
I just watched Truffaut’s Day For Night, a cool flick. It moves at a pretty fast clip, does not allow you to disengage, which is a good thing in a movie. I don’t think the chemistry between the actors is all that convincing but c’est la vie. It struck me that it’s similar to Godard’s Contempt (Le Mepris) a film within a Film, best by troubles, affairs on the set, relationships dissolving, both starring international sex symbols. And they both end in Tragedy. And the music in both films is by the same composer, Georges Delarue. Also the music is used in a fairly repetitive manor, which I have to say Truffaut, maybe unconsciously, copped from Godard. It’s like Godard’s use of music. Little snatches of the same bit of Vivaldi that repeat at ceratin points, not as radical as Godard’s music but influenced by it.
It’s funny, theses two filmmakers were best friends but had a big falling out in 1968. Although I did read a letter Godard wrote to Truffaut asking for the rights to Breathless, Trauffaut had a writing credit, more of a condition imposed by money people than an actual intellectual contribution, Godard neede money, he wanted to sell the rights to Breathless, Truffaut signed off but didn’t want to be friends.
Another similarity, B.B. swims naked in Le Mepris, unforgettable imagery, her blond hair and tanned body slipping through the blue Mediterannean waters , so beautiful. There is a sequence in Day For Night where a blonde secretary swims in a pool at a motel, the camera is above her on a platform, a similar angle to the POV from Le Mepris. Was this an unconcious desire of Truffaut’s to capture some of the allure of Le Mepris? Who knows.
Both films end with Death by Automobile Accident that leaves the Fate of their respective films in jepoardy. Another thing Jack Palance and Jean Pierre Aumont dress in a similar kind of Preppie way. They sort of look alike, their hair styles kind of match.
Godard’s film is uncompromisingly Arty and I mean that in the best possible way, an unconventional masterpiece. Truffaut’s is more of a crowd pleaser. This is not meant as a putdown. But it doesn’t have (at least for me) the wild creative juice of say, Shoot The Piano Player.
My dear friend Pablo Ferro passed away last night at the age of 83. He was the greatest, nicest guy. Super talented, he loved working, creating, doing incredible things.He was friend and collaborator to Stanley Kubrick, Hal Ashby, Bob Downey, Steve McQueen, Jeff Bridges, so many amazing people. He got me the job editing The Sunchaser for Michael Cimino and I tried to get him gigs whenever I could. Actually Pablo gave Cimino his start in filmmaking. He was a legend. So raise a glass to a departed genius. Here’s a taste of his crazy magic.
