FS243 Lecture Notes - Antoine Doinel, Bazin Family, Kuselan
September 27th, 2012
Truffaut: The Antoine Doinel Series
-he doesnt want to create cinema of quality
-he wants to go against the traditional
Actor Jean-Pierre Leaud through the years.
Clip of Antoine Doinel: him saying his name and the names of all the women he loves.
•he is able to show emotion for so many times
•clip is all about him convincing himself of who he is an actor or as the character
•Character and Actor becoming one. He seems to not be acting, and to be being
•interesting clip, when you keep saying the same thing over and over again until it loses
5 Films of Antoine Doinel - We’re looking at 2 today.
Truffaut: A Short Biography
-Real father was unknown
-until later in his life, where he found out he was a dentist
-Took stepfather’s last name
-Shame of illegitimacy
-Sent first to live with a nanny, then with maternal grandparents
- parents dont want much to do with him, due to this illegitimacy.
-he didnt like his mother very much and his mother didn’t either.
-Moved back with mother and stepfather at age 10
-Skipped school throughout early teens; snuck into movies
-stayed away from home
•drops out of school
•Becomes regular at the Cinametheque Francaise, seeing 3 times a day
•watching movies becomes his lifestyle
•he had a certain attitude about showing films. He watched silent times, and
didn’t really like musicals.
-Back then they were (Truffaut and Godard) more interested in the way film was made,
and kid of obsessed with it, instead of the story itself
•Steals typewriter to finance film club: Cercle cinemanie
•form stepfathers work
•Bazin is taken aback from Truffaut’s
•Stepfathers sends him to reform school for three months
•Bazin agrees to give him a job as his personal secretary to obtain his release
•as his assistant, writing articles..
•Bazin becomes a surrogate father, teacher, mentor
•the day he starts shoot his first movie, the day after, Bazin dies from leukemia.
•Death is a very tragic and reoccurring, traumatizing theme
•Age 17 (1949)
•attends Birritz Film Festival
•when Truff. starts to realize that there is more to cinema than just the details of how
the film is made, and the stories behind it
•Meets Godard and others
•Starts writing for various journals
•* getting small jobs here and there, still young.
•becomes obsessed with Liliane Litvin
•Truffaut was a womanizer, he had affairs with every single of his leading ladies
of movies he did. He was married twice with 3 kids. And not very into the con-
cept of traditional love.
•went to prostitutes for sex from age of 14.
•went to hospital for syphilis twice
•Moves into an apartment across from her family, and tries to approach Liliane, then
•tried suicide because of rejection
•joins army due to depression and despair
•spends a month in hospital for syphilis, then army prison (bc of escape)
•2nd suicide escape
•has very peculiar and obsessive view of world and women
•Bazin arranges release and Truffaut lives in Bazin family attic
•after this we know his story as a filmmaker.
Truffaut: Major Themes
•Obsessive men/boys and unobtainable women
•women are on a pedestal
•arent really equal to men in these films
•sexist attitude - in roles
•women are chased after and men are chasers
•Existential angst and obsession with death
•one is born alone and dies alone, and has to find their own values and substance
•death: no parents at early age - suicide attempt
•Love and respect for children/permanence of childhood
•men are still immature, and they might be married, but still with obsessive and im-
mature love/emotions for women and decisions..
•Truff still respects this childish behavior and way of thought
•Love and respect for literature
•clip: lighting candle from Balzac
•- tragedy, always falls a part in the end
•Love for cinematic history
•illusion of numerous homages to cinema
•“Cinema is more important than life” (Truffaut as the director in Day For Night)
Truffaut: The Antoine Doinel Series
-Les Catre Cent Coup
-* being bad ass, french expression, getting into trouble
-nothing really happens
-film for french back then were just scenes where nothing really happens, just a
-new cinematic technique, of putting camera in middle
-omitting both joy and agony of childhood
-dualism of childhood