Truffaut, Franois. Letters.

(London: Faber and Faber, 1989): 114-15

To Maurice Pons

from Paris, 2

October 1957
Dear Friend,
Enclosed is a photograph: the father of Les Mistons surrounded by
his children. I am unable to go and see Vasco1 this evening, as Renoir has
invited me to the dress rehearsal of The Big Knife2. But that doesnt mean
to say that I will not see the Jean-Louis Barrault production
If I didnt contact you during the re-shoot of Les Mistons, it was
because: 1. the shoot had to be wrapped up as economically as possible; I
am deeply in debt; 2. the variable weather made it difficult to be sure of
anything; 3. you would have found it very painful watching me at work,
which, I should add, is quite natural.
I have now finished editing and started the sound-mixing; as far as
the commentary is concerned, I would like us to work together to preserve
your tone; nevertheless I am very afraid of showing you Les Mistons, since
I am aware that I have not been faithful to your story; moreover you are
unaccustomed to seeing films in an incomplete form, which is an
extremely demoralizing experience, even for professionals.
That said, I will show you the film before the 17 th of this month,
which is to say, before my wedding 3. Prior to that, I would like you to
consent to a little experiment. To illustrate the passage of the story that I
like best (In truth, we meant no harm, we were merely tormented by that
childhood frenzyfrustration when confronted with lovewhich they do
not understand and which haunts them), I have filmed about ten shots
of girls in the street (walking), in the countryside (dancing), a kiss
exchanged in a doorway with one of the urchins looking on, a poster of a
pin-up girl with a sign: No admittance to under-sixteens, an obscene
gesture, etc. I would like you, before seeing this section, to write two or

three new sentences to follow on from we meant no harm, etc. by

developing the same idea. Here are the key words, or ideas, which might
appear in succession in these two or three sentences:
a) kiss; b) pursuit (the idea of a chase or the word pursuit taken in
its abstract sense: for example, the pursuit of love); c) hips or bearing or
rump; convey, in a few words, the idea that the child laughs at love to
conceal his own desire, that its nothing but swagger; e) the word
curiosity; f) the word walls in the abstract sense; for example, the wall one
constructs around ones private life; giving the idea of movement,
itinerary, awakening of desire; g) a young woman kissing a child; h) the
word censure (indispensible), the word rage or a synonym, the idea of
impotence, the fist, the arm; i) impossible kisses.
I assure you I am not mad, merely persuaded that things can be
safely left to chance (especially if one gives it a helping hand) and that
these sentences, written by you in the abstract, will fit better than any
which the images might suggest to you; not only does the film that I have
shot not correspond to your style but it even contradicts it. Why so? Quite
simply because my sensibility is at opposite extremes from yours and it is
impossible to create somethinga film, a novel, etc.that does not
absolutely resemble itself. Reading Les Mistons, I was struck by about
thirty images; I recognize them, but you will not recognize them. I can
easily guess how painful it must be to feel that one has been adapted,
which is to say, betrayed; I say all that to temper your disappointment
when you see the film!
In any event, please accept my gratitude and my friendship,
F. Truffaut

1 Georges Schhads play Hitoire de Vasco, which Pons had invited Truffaut to see.

2 Jean Renoir directed Clifford Odets play in the theatre.

3 Truffaut and Madeleine Morgenstern were in fact married on the 29th.