Totally Truffaut: 23 Films for

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Totally Truffaut
 Totally Truffaut
23 Films for Understanding the
Man and the Filmmaker

ANNE GILLAIN
F O R EWO R D B Y M A RT I N S C O R SE SE
F O R EWO R D T O T H E F R E N C H E D I T IO N B Y
M IC H E L M A R I E
T R A N SL AT E D B Y A L I STA I R F OX
E D I T E D B Y BA R RY LY D G AT E

1
 3
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Library of Congress Cataloging-in-Publication Data

Names: Gillain, Anne, author. | Fox, Alistair translator
Title: Totally Truffaut : 23 films for understanding the man
and the filmmaker / Anne Gillain ; postface by Michel Marie ;
translated by Alistair Fox.
Other titles: Tout Truffaut. English
Description: New York : Oxford University Press, 2021. |
Includes bibliographical references and index.
Identifiers: LCCN 2021015019 (print) | LCCN 2021015020 (ebook) |
ISBN 9780197536308 (hardback) | ISBN 9780197536315 (paperback) |
ISBN 9780197536339 (epub)
Subjects: LCSH: Truffaut, Franc¸ois—Criticism and interpretation.
Classification: LCC PN1998.3.T78 G55513 2021 (print) |
LCC PN1998.3.T78 (ebook) | DDC 791.4302/33092—dc23
LC record available at https://lccn.loc.gov/2021015019
LC ebook record available at https://lccn.loc.gov/2021015020

DOI: 10.1093/​oso/​9780197536308.001.0001

1 3 5 7 9 8 6 4 2
Paperback printed by Marquis, Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
For Sam
 Contents

Foreword by Martin Scorsese  ix

The Secret Rediscovered: Foreword to the French Edition by Michel Marie  xi
Preface  xvii
Acknowledgments  xxiii

Les Mistons (1958)  1

The 400 Blows (1959)  7
Shoot the Piano Player (1960)  21
Jules and Jim (1962)  35
Antoine and Colette (1962)  47
The Soft Skin (1964)  55
Fahrenheit 451 (1966)  67
The Bride Wore Black (1967)  77
Stolen Kisses (1968)  87
Mississippi Mermaid (1969)  101
The Wild Child (1970)  117
Bed & Board (1970)  129
Two English Girls (1971)  139
A Gorgeous Girl Like Me (1972)  151
Day for Night (1973)  161
The Story of Adele H. (1975)  175
Small Change (1976)  189
The Man Who Loved Women (1977)  201
The Green Room (1978)  217
viii Contents

Love on the Run (1979)  233

The Last Metro (1980)  243
The Woman Next Door (1981)  261
Confidentially Yours (1983)  277

Appendix  289
Bibliography  291
Index  293
 Foreword

François Truffaut’s passionate love affair with the cinema was lifelong, and
you can feel the intensity of it in his criticism, in his acting, in his advo-
cacy for his fellow filmmakers (Hitchcock and Renoir above all), and most
of all in his films. It animates every movie he ever made, every scene, every
shot, every cut. He spent a very long time in the editing room on each of
his pictures, and the result is that every movement in every frame looks like
it’s been lovingly scrutinized, so that every transition from one image to the
next surprises you. That’s the source of the unique sense of exhilaration in
Truffaut’s filmmaking.
More than any of his peers, Truffaut stood up for the continuity of film his-
tory. His book on Hitchcock is indispensable to anyone interested in movies,
but it’s also very unusual. Here was one of the world’s most established and
celebrated filmmakers devoting the same amount of time and energy it would
have taken him to make a movie (or maybe two movies) to a very lengthy se-
ries of interviews with a much older director in the twilight of his career, and
then crafting a book from it that has proven to be a bible for countless dir-
ectors. It’s an extraordinary act of homage, almost unthinkable today.
Of course, Truffaut carried that sense of history into his moviemaking.
Back in the early and mid-​1960s, people were always talking about how this
movie “quoted” from that older movie, but what almost no one talked about
was why the quote was there, what it did or didn’t do for the movie, what it
meant emotionally to the picture as a whole. In Truffaut, the historical aware-
ness and a thorough grounding in the emotional reality of the picture went
hand in hand. There are many echoes of Hitchcock in his movies, blatantly so
in The Soft Skin (underrated at the time of its release and a favorite of mine)
and The Bride Wore Black, not so blatantly in many other movies, and it’s al-
most impossible to quantify the importance of Jean Renoir to Truffaut (or,
for that matter, of Henry James and Honoré de Balzac—​Truffaut was also a
great reader). If you study his pictures closely, you can feel echoes of each of
them, but nothing ever feels extraneous to the film itself.
There are things that Truffaut did in those early movies that left a lasting
impression on me and on my generation of filmmakers. For instance, the
x Foreword

opening, breathlessly fast expository section of Jules and Jim, where time and
space are abolished and the images and the narration and the music flow like
a river, or the series of cuts in Fahrenheit 451, another underrated picture,
where the camera moves in close-​closer-​closest on a character in imminent
danger—​I admit that I’ve duplicated this pattern quite a few times in my own
films. And the character of the pianist played by Charles Aznavour in Shoot
the Piano Player—​always on the verge of making a move but never quite
doing it—​opened my eyes to a kind of ambivalence that I hadn’t previously
seen in movies.
And the dimension of time—​the desire to slow it down, the ever-​present
reality of its swift passing . . . Truffaut had such a unique gift for giving form to
this longing in us. It’s encapsulated in that moment at the end of Two English
Girls—​another underrated picture, and a masterpiece—​where Jean-​Pierre
Léaud’s Claude suddenly catches a glance at himself in the mirror and spon-
taneously murmurs the words: “My God, I look old.” And then, as quickly as
it arrives, the moment is over.
That’s life. And that’s Truffaut.

Martin Scorsese
 The Secret Rediscovered: Foreword to
the French Edition

Anne Gillain is without a doubt one of the leading international experts on

the work of François Truffaut. This is the third book that she has devoted
to her favorite filmmaker. In 1988 she compiled an anthology of interviews
with the director previously published in the national and international
press, classifying and arranging each film in chronological order; then, two
years later, she published a systematic analysis of his twenty-​one feature
films, grouped in pairs according to thematic associations that include, for
example, “family secrets” (The 400 Blows and The Woman Next Door), decep-
tion (Shoot the Piano Player and The Soft Skin), and queenlike women (Jules
and Jim and The Last Metro), ending with an analysis that explored Truffaut’s
final film, Confidentially Yours, for its playfulness.
That second book, titled The Lost Secret—​referring to the expression
Truffaut used to characterize the silent cinema of Chaplin and Lubitsch—​
drew mainly on the psychoanalytic concepts of Sigmund Freud, Melanie
Klein, and D. W. Winnicott. Gillain demonstrated that each of Truffaut’s
films constitutes in fact an unconscious response to a maternal figure who is
“distant, ambiguous, and inaccessible.” The biography of the young Truffaut
explains to a large extent the complexity of his relationship with his mother
and the importance of the idea of secrecy in his childhood; his mother be-
came for him a figure at once wonderful, fascinating, and inaccessible, and
a secret that haunted him throughout his life, as his last films, in particular
Love on the Run and The Last Metro, attest.
This third book complements the preceding one by analyzing chronolog-
ically Truffaut’s twenty-​one fiction films in the order in which they were cre-
ated, from The 400 Blows to Confidentially Yours, as well as two of the short
films that he made at the beginning of his career, Les Mistons and Antoine
and Colette. Gillain’s analyses incorporate new information brought forth
in the voluminous biography by Antoine de Baecque and Serge Toubiana
that was published in 1996, and that explores areas like the circumstances
surrounding the films’ production and their relationship with the life of the
auteur. Gillain also draws upon Carole Le Berre’s book Truffaut au travail
xii Foreword to the French edition

(2004), an in-​depth study of the origins and genesis of each film based on
a study of the screenplays and production notes preserved at the Films du
Carrosse by the filmmaker himself, who was ever mindful of what he would
bequeath to posterity.
Totally Truffaut thus provides the reader with a remarkably detailed and
well-​informed analysis of each of Truffaut’s films, demonstrating the power
of the filmmaker’s creativity, the strength of his work, and the coherence of
his oeuvre. In fact, owing to the extraordinary success of his first full-​length
fiction film in 1959, Truffaut was lucky enough to produce or coproduce all
of his films with Les Films du Carrosse, the company he created at the very
beginning of his career with the support of Ignace Morgenstern, his father-​
in-​law. From then on he always paid close attention to the financial state of
the company, alternating his production projects’ costs between those with
modest budgets and films with more ambitious budgets that allowed him to
cast stars in the lead roles. The audience figures published in the appendix to
this volume give the total numbers of admissions for his productions; they
indicate that only one of the films he made during his career was a failure at
the box office; namely, The Green Room, one of his most personal and daring
films, which attracted only 153,525 admissions for the whole of France. The
rather exceptional production conditions he enjoyed allowed him to select
only those films that he wanted to make and to base them freely on orig-
inal subjects or on adaptations of a wide range of literary works that he in-
tegrated into his personal universe. As a result, the entire oeuvre of the
filmmaker consists of auteurist projects linked from one film to another by
close relationships involving a system of repetitions, cross references, and
citations. These intertextual correspondences are innumerable, and can be
identified thanks to what Anne Gillain calls “memory shots”—​shots that are
repeated in the body of the film without playing a dominant narrative role.
Thus, in her analysis of Confidentially Yours, she pinpoints twenty or so visual
or verbal motifs that link this final film to the rest of the filmmaker’s oeuvre.
All these cross references from one film to another show that the film-
maker was fully aware of creating a coherent body of work like those of
Balzac and Marcel Proust, his professed literary models, with the character of
Antoine Doinel being the most explicit manifestation of this unity from The
400 Blows to Love on the Run. Truffaut was in fact the first filmmaker of the
New Wave to implement this notion of works created as a cycle, well before
the series of Éric Rohmer (“Six Moral Tales,” “Comedies and Proverbs,” and
“Tales of the Four Seasons”), and Jacques Rivette’s variations on theatrical
 Foreword to the French edition xiii

staging for the cinema that include Paris Belongs to Us, The Nun, Gang of
Four, and Va savoir (Who Knows?).
Anne Gillain’s approach draws freely on the method of textual analysis es-
tablished by Raymond Bellour at the beginning of the 1970s with his well-​
known studies of two films by Alfred Hitchcock, The Birds (1963) and North
by Northwest (1959). She applies this method to a short excerpt from each
of Truffaut’s films, and relates the passage selected to the rest of the film and
Truffaut’s oeuvre as a whole. The fragments chosen from one film to the next
are very diverse in nature. They range from arresting narrative moments, like
the encounter of the young Doinel with his mother and her lover in the Place
de Clichy in The 400 Blows, to the murder-​suicide of the passionate couple in
The Woman Next Door. In Bed & Board, Two English Girls, A Gorgeous Girl
Like Me, The Man Who Loved Women, and Confidentially Yours they mostly
involve the final section of the film, and often concern key sequences like
the encounter of Antoine Doinel with Monsieur Lucien at the end of Love
on the Run and of Bernard Granger with Lucas Steiner in the cellar of The
Last Metro.
A number of these fragments are very short, like the one from Fahrenheit
451 (five shots lasting two minutes, thirty-​three seconds), when Montag
begins to read his first book, syllable by syllable, or the excerpts from The
Story of Adele H. (only two shots, the first lasting six seconds, the second,
very mobile and long, of one minute, forty-​eight seconds following Adele’s
movements when she visits a bank) and from Confidentially Yours (four shots
lasting one minute, forty-​eight seconds in the police station, which present a
story in flashback involving Barbara, the investigator). Other analyses con-
cern longer passages consisting of up to fifty shots: one sequence of four
minutes for the classic scene involving the declaration of love in Mississippi
Mermaid, with its thirty-​two close-​ups in shot /​reverse shot, with the faces
of Louis and Marion in alternation; forty-​one shots for the third occurrence
of the child’s dream presented in black and white in Day for Night, consisting
of twenty-​nine close-​ups of photos lasting twenty-​three seconds at the end
of the dream; and fifty very rapid shots during the “frugal meal” in Small
Change that the young Patrick bolts down when Madame Riffle serves him
the family’s pot-​au-​feu as he is devouring her with his eyes—​one of the rare
sequences in the filmmaker’s oeuvre that represents a character eating with
greedy enthusiasm. Rare, because Truffaut was by no means a gastronomist.
This typological variety of forms in the way each movie is cut and edited
demonstrates the virtuosity of Truffaut’s film style, which is far removed
xiv Foreword to the French edition

from the stereotypes of the classical model that is usually, and quite unjustly,
attributed to him. All of the fragments selected accord primary importance
to the choice of shot involved and also to the forms of editing. Thus, the de-
tailed analysis of the sixteen shots in the fragment from The Bride Wore Black
in which Julie Kohler poses as Diana the huntress, bow in hand, shows how
the central shot of two minutes (Julie and Fergus on the couch) is framed
by a succession of very brief shots, all of which last less than a second; with
great speed, they frame Julie’s mouth in extreme close-​up, her eyes, the arrow
stuck in the wall, the gaze of Fergus the painter as he sizes up his model—​all
arranged in a brief montage reminiscent of Soviet cinema at the end of the
1920s, or of those avant-​garde films whose montage can be so staccato and
dizzying.
As a result of these analytic choices, Gillain offers the reader a lesson in
the analysis of sequences of varying durations, parameters, and angles of ap-
proach; in this way, she elucidates the filmmaker’s mastery of a kind of filmic
expression that results in a veritable “manipulation of the spectator,” aimed
primarily at captivating viewers, enchanting them with the emotion that he
means to provoke.
Gillain draws in addition, and more fundamentally, on the theory of spec-
tatorship proposed by Raymond Bellour in Le Corps du cinéma, a theory that
is based in part upon the work of the child psychiatrist Daniel Stern, whose
ideas prove to be particularly enlightening when applied to the creative ap-
proach of François Truffaut. Gillain briefly summarizes these concepts in
short theoretical sections at the beginning of the chapters on The Wild Child,
Day for Night, and Small Change and in the course of the detailed analyses
that accompany them. Bellour’s own theory of spectatorship is explained in
the analyses of Mississippi Mermaid, The Story of Adele H., and The Woman
Next Door.
Stern makes a distinction between two main stages of human develop-
ment: that of the prelinguistic child, before its progressive acquisition of
verbal language in the first year of life, and that of the adult in control of their
words. The story of The Wild Child offers an almost perfect illustration of this
theory given that it deals with a child who is abandoned alone in a forest and
remains at the prelinguistic stage, and a well-​meaning adult, Doctor Itard,
who attempts day after day to educate the young boy by teaching him how
to speak and master his first words, such as the word “milk” and the name
“Victor” that Itard has given him. The film as a whole explores the mystery of
language and the symbolic system it represents (designated by words written
 Foreword to the French edition xv

on the blackboard and objects constructed out of pieces of wood) in confron-

tation with a prelinguistic perceptual system that privileges the senses other
than sight and hearing—​smell and touch, in particular. Truffaut understood
how communication between the world of the film and that of the viewer
could occur in a very different manner through bodies—​through the bodies
of characters, and hence through the bodies of the actors who played them.
Bellour’s insight is precisely to associate the emotion these physical
movements produce in the viewer with a form of hypnotism, an absorbing
captivation, a hypnosis that reactivates the infant’s prelinguistic mode of
perceiving the world. The language of cinema allows the spectator to recon-
nect with the earliest impressions of an infant as it discovers the external
world. But this hypnosis is not as dependent on narrative elements as it is
on the physical world of the film—​“the body of cinema that speaks directly
to the body of the spectator”—​that manifests itself through lighting, camera
movements, colors, rhythm, and transitions between shots, which together
constitute the material conditions of the film as organized through the mise
en scène.
Thus, in The Story of Adele H., the viewer’s identification with the character
of Adele, whom the camera almost never leaves, is generated by close-​ups
on the face of Isabelle Adjani, but even more by each element in the visual
field that surrounds her. Accordingly, emotion derives from a concentration
of signs that not only support the thrust of the narrative, but also surround
it, reinforcing through peripheral vision a narrative already focused on the
character. Or take Small Change, which, pitched at a child’s level but aimed at
an adult audience as well, reflects Daniel Stern’s bilingualism, the language of
the body and that of the word generating two possible levels of interpretation.
The major sequences of the film are in fact silent; their power comes from the
language of actions performed by children without words, sustained by the
themes of Maurice Jaubert’s very beautiful musical score.
Suffice it to say that Anne Gillain’s aim in this book is to demonstrate
that François Truffaut is truly one of the four or five great masters of French
cinema, along with Jean Renoir, Jacques Becker, Robert Bresson, Maurice
Pialat, and a certain number of his peers in the New Wave—​from Éric
Rohmer to Jean-​Luc Godard (here individual tastes may vary). To read her
analyses makes one immediately want to rewatch the films so as to discover
riches that went unnoticed in previous viewings. This is most true of the films
in which Truffaut’s genius is most obvious, such as Jules and Jim, The Wild
Child, Two English Girls, The Story of Adele H., The Man Who Loved Women,
xvi Foreword to the French edition

The Green Room, The Last Metro, and The Woman Next Door; but Gillain
rightly rehabilitates a number of other films that were poorly received when
they were first released—​films such as Shoot the Piano Player, The Soft Skin,
The Bride Wore Black, Bed & Board, Small Change, and Love on the Run. She
is right, for instance, to emphasize the central place of Mississippi Mermaid
at the beginning of the most creative phase of Truffaut’s career. She restores
to Day for Night its status as a work of clarity and depth that marked a cross-
roads. She identifies multiple levels of complexity to be found in The Last
Metro, a film of great density lying under a deceptively smooth appearance;
the metaphor of a palimpsest allows her to suggest six superimposed levels of
meaning in the film, levels that constantly intersect as the narrative unfolds.
But it is The Woman Next Door that is her favorite film, the one she sees as
Truffaut’s undeniable masterpiece:

Many critics rightly consider The Woman Next Door (1981) to be his most
perfect film. In the last ten years of his career, with ever-​increasing skill,
Truffaut developed strategies of mise en scène designed to mobilize the
viewer. They involve his handling of narrative organization and dialogue,
but also a ceaselessly refined mastery of nonverbal language: the use of
glances, hands, objects, spaces; framing choices and chromatic nuances
(color or black and white); effective editing and filmic punctuation; impec-
cably orchestrated musical counterpoints to visual and verbal content; fi-
nally, and above all, silent scenes that distill into a few shots what is at stake
in the narrative. Scenes like these belong so uniquely to Truffaut that they
can rightly be read as his private signature.

There is no better way of putting it.

The satisfactions of reading Totally Truffaut, in all its richness and subtlety,
are of a piece with the rewards of rewatching the filmmaker’s own films from
first to last. New techniques of remastering and distribution of the films, dig-
itally restored, greatly facilitate access to his oeuvre, so that we can consult it
as we would a volume in our personal library. Montag the fireman can rest
in peace. Truffaut and the men-​books have triumphed in their fight against
obscurantism and autos-​da-​fé. That is what Anne Gillain demonstrates with
such mastery in the pages that follow.

Michel Marie
 Preface

I get the feeling I don’t have much time left to do what I want to do.
—​François Truffaut, “Radioscopie”
with Jacques Chancel, April 15, 1975

Truffaut’s films have always attracted clichés the way evening gowns, brushing
the floor, attract dust. This book hopes to sweep away a few and cast new light
on one of the most lavish bodies of fiction in the history of French cinema.
Truffaut’s oeuvre has enjoyed dazzling international success, but is often con-
sidered popular entertainment for a mass audience. Charming is an adjective
associated time and again with Truffaut—​a baffling usage, considering that
the creation it characterizes plunges deep in the violence of passions and,
even in the light comedies, designates death as its vanishing point. It is true
that Truffaut translates his vision with an incomparable grace that may con-
ceal what is at stake. As with Ernst Lubitsch, the term that seems most fit-
ting to describe his work is elegance, a moral and aesthetic elegance certainly,
but an elegance that is above all artisanal, an elegance of craftmanship. Like
Lubitsch, Truffaut was a tireless worker who sought constantly to achieve
perfection and skillfully masked the enormous labor it took to make films
of such ethereal weightlessness. To evoke Truffaut is to conjure up images
that are all perfectly orchestrated, all perfectly staged, and whether ironic or
moving, totally unforgettable. Of them, Antoine Doinel at the edge of the sea
remains the most iconic. Truffaut’s unerring mastery at cultivating metaphor
forever places him in the lineage of Lubitsch, whom, along with Renoir and
Hitchcock, he considered one of his masters.
Metaphoric thinking is the connecting thread of this book, which traces
how the experiences of a life are transformed into the stuff of fiction. In 1991,
I published a first book on Truffaut’s films: François Truffaut: Le Secret perdu.
My approach was inspired by the theoretical writings of D. W. Winnicott
on juvenile delinquency. I suggested then that an ambivalent relationship
with a fantasized maternal figure provided a subterranean framework for
Truffaut’s stories. My book contained few references to the facts of his life
because at that time I was unaware of them. Instead, the films were linked
xviii Preface

in pairs according to thematic and stylistic affinities. The organization of

the present book, however, is resolutely chronological. Since 1990, two in-
dispensable works have appeared: on one hand, the biography by Antoine
de Baecque and Serge Toubiana, and on the other, the book by Carole Le
Berre, Truffaut au travail. Neither offers a textual analysis of Truffaut’s films,
but each is a mine of information and of critical insights. Using this new
data, I am proposing a second reading of Truffaut’s oeuvre that shows how
much films became for him a sort of intimate and private journal, written
in a coded language of great rigor and sophistication. Truffaut’s destiny was
marked by three critical experiences whose seismic repercussions impacted
his work, film after film: the 1943 discovery of his illegitimate birth; his dis-
comfort over the simultaneity of increasing international fame and a bour-
geois marriage in 1959; and, in 1969, the failure of a passionate love affair
with Catherine Deneuve that led to a severe depression—​“the black hole.”
These events constitute the three harmonic lines that his films will compose
into variations full of grace and imagination.
The most challenging aspect of working on Truffaut’s oeuvre is attaching a
name to the specific territory his films explore. One way to simplify the task
is to say that the terrain begins where language lays down its arms, a motif
that Truffaut in fact built into his films, where language is often a full-​fledged
character, whether intriguing, as in The Wild Child, or threatening, as in The
Story of Adele H. While words often empower the images, it is mostly the
failure of language that the stories commemorate. Truffaut’s fascination with
the written word and his love of literature are coterminous with his certainty
that the film’s hold on the audience is not reducible to linguistics: “A film
has nothing to say.” The word he favored—​as did Hitchcock—​to define his
goal as a film director was emotion. In his seminal book Le Corps du cinéma,
Raymond Bellour has brilliantly demonstrated that “emotion is hypnosis,”
and has analyzed the hypnotic state as a powerful link between the perceptive
modes of the prelinguistic child and those of the viewer of a fictional film.
Bellour’s analysis is inspired by a number of essential concepts found in the
work of the great American child psychiatrist Daniel Stern. It is in fact Stern
who formulates the question that in my opinion most accurately defines the
territory Truffaut explores. Describing what he calls “implicit knowledge,”
which belongs to the prelinguistic domain of inter-​psychic relations, Stern
asserts that the key question in defining this implicit knowledge is, “How do
I know that you know that I know?” Implicit knowledge cannot be trans-
posed into words. Resistant to language, its logic and its categories, it can
 Preface xix

never be translated into “explicit knowledge.” In human development from

childhood to maturity, explicit and implicit develop along parallel paths
without ever intersecting. Implicit knowledge is in no way repressed know-
ledge, but simply knowledge that is non-​verbalized and non-​verbalizable. As
Stern notes, it has been little studied, but those who understand it best are
artists, for whom it is the key to their success with audiences.
In the course of his career, as will become clear, Truffaut accorded the
viewer an increasingly prominent place—​a central one, in fact—​in his
system of representation. Among his many formulations that sum up the
imperatives of the work without codifying them as theory—​for example,
“The audience should be kept sitting with mouths agape,” and “A scene
shouldn’t be introduced in order to slot in a single idea, but to slot in six of
them”—​one in particular seems to bear on the issue raised by Stern: “Direct
information is to be avoided at all costs.” The statement is violent because
this rejection is fundamental to Truffaut’s entire system. Direct information
involves discursive language and logic, which immediately deny access to the
territory that interests Truffaut the most. Making viewers take the perceptual
detour described by Stern via an artistic medium requires mastery of a for-
midably complex system. As a child, the training Truffaut received in inter-
nalizing this system was faultless. Until the age of twelve, he was exposed to
the unspoken thoughts of the adults around him. Although the secret of his
birth certainly had a painful impact on his life, it also allowed him to develop
an acute sense of the truths hiding behind words intended to mask them.
Lying affords an early education in implicit knowledge. Faced with the inva-
sion of cinéma-​vérité, Truffaut would jokingly say he was in favor of cinéma-​
mensonge (a “cinema of lies”)—​that is, works that require imagination. In
this respect, his oeuvre has a lot in common with the work of the French nov-
elist and Nobel Prize laureate Patrick Modiano, who was also subjected as a
child to the crushing weight of adult lies. Like Modiano in his books, Truffaut
in his films explores this territory that eludes the force field of language but
where flourish the most profound and foundational passions in human ex-
perience. The problem is not reading the map, in this instance the map of
subterranean drives, but understanding how films succeed in submerging us
physically in this wild territory with its dangers, its enigmas, and its beauties.
Metaphor is key to accomplishing this task. Serving as a bridge between
unconscious autobiographical memory and conscious thought, it constitutes
a primary form of cognition that precedes language and the formation of
symbols. It is anchored in the experience of the body in space and speaks of
Another random document with
no related content on Scribd:
 "Well, whatever the explanation," said Cyprian, "it is only certain, as it
was to another man before me, that, whereas I was blind, now I see. I see
the truth of the Resurrection."

Bright with revelation was Ferlie's face.

"Dear, it is enough and more than enough. The rest follows as it is

needed, making all things possible for us who can look forward into
Eternity. I fear nothing, in whatever shadowy valley our steps may be
turned ... now. The light will break some time when our eyes are strong to
bear it. We have been united in all things save the one thing that was
needful: belief in the Life Everlasting. Without that faith our love must have
mastered us. And I knew it. Your Frantic Master drives as his slaves those
who see no further than the end of this fragment of life. Cyprian, my lover,
do you not understand how it is that I am not afraid to stay beside you
now?"

Across the gilded bamboo leaves the children's voices stole to mingle
incongruously with the shouts of the returning fishermen, to the drawling
melody of——

"A Friend Who never changeth, Whose love will never die.
Our earthly friends may fail us,
And change with changing years ..."

Cyprian slipped out of the hammock and raised Ferlie to her feet.

* * * * * *

Yet, finally, the leadership, even in mystical matters, was to devolve on

him.

There were only thin wooden walls to the little forest bungalow.

Ferlie and he had been sleeping indoors since his illness so that she
might have all medicines and the paraphernalia for nursing within easy
reach.

Therefore, it happened that in turning his head restlessly to escape an

intruding beam of moonlight through the curtainless door, he roused
himself with sudden completeness, straining to catch the echoes of quiet
sobbing.

He only paused an instant.

Ferlie was lying face downwards: her forehead on her arms, which
gleamed lily-coloured in the pure light.

He knelt beside her, attempting to raise her head.

"My dear... My dear..."

She grasped thankfully at the steadying sensitive fingers. "Help me,

Cyprian! You were always, really, the stronger. Help me to conquer it.... I
know you have thought that everything mattered a great deal more to you
than to me. That I was satisfied with the knowledge that the end is not yet.
But sometimes—at night—Heaven is very far away and earth is most
powerfully real, and doubts creep over me, who have laid the great burden
of this faith on you, whether I am fit to bear the burden of my own human
loving. You see, Cyprian, there is one instinct given to women at Creation;
the roots of which are in Creation itself.

"John is mine by duty and Thu Daw is yours by desire, but I want—and,
at the moment, I'd sell my soul to eternal death to make it come true—your
son in my arms ... through love...."

So came again to Cyprian the inexorable phantom of that Master of

whose subjection he had been made falsely confident by the soothing
sympathy of a celibate's idealism and the magic of Ferlie's trust, a few short
hours back.

Though he came in the form of an angel of light; though he came in the

form of a roaring lion; though now in a more mysterious guise than either, it
was the same despotic power which drove and drew.
 How to battle now with this image of shadowy radiance? And, after all,
why? He summed up the matter afresh. If there was not truth here it was
nowhere, and only in following the truth could man be set free of his ills.
Thus had taught that same Nazarene, whose spoken word of two thousand
years ago was causing all the trouble; since even in the sceptical circles of
modern scientific research men were to be found to follow the gleam along
His trail. Across which lay Ferlie exhausted; himself hesitating above her in
the knowledge that she would yield, inevitably, to the guidance of his
groping hands in the dark.

He had said to her, "I see the truth of the Resurrection," and she had
replied that all else followed; but she had not then meant to signify the
strength for this sacrifice. And he saw, blindingly, that there might be no
half-measures. The ghost of an unborn child barred the way of compromise.

Shaken with pain, mental and physical, Cyprian of the once all-
satisfying ethical agnosticism called with the impotent despair which is akin
to anger upon that Lover who stood between them as lovers, and who was
becoming in conception unwaveringly the same as the God who brooded
over the disciplined Churches.

"Why should Ferlie let them torture her?" he had asked fiercely again
and again of himself in the past, and now that the power lay with him to
stay the hated pressure he found himself weakly refraining instead with the
question, "why should I let them torture me?"

Even if separation had spelt material death for them both, Ferlie's
Church would concentrate only upon the spiritual death their life together
must effect.

Had not the time really come to dismiss as out-worn sentimentality this
talk of a soul's death?

His own, such as it was, and if he might barter, and gladly, for the
fathomable happiness of To-day, despite that secret glimpse of wisdom
imparted during his unconscious hours. But what of Ferlie's soul, such as
That was, and now in his keeping—a stainless loyal Existent?
 He had fought to make it see with material vision and the mastering
Force had fought on his side.

Yes, she had indeed fallen, spent, in the fearful starlessness and it was
his at last exultingly to lead.

Incoherent shreds of forgotten argument worried him. Magi or

shepherds ... the wise with their great responsibilities....

He became contemptuously aware of the aguish shaking of his body.

How did one pray? ... How did one pray? ... The opalescent tropical dawn
found him still at her side, his hold unrelaxed of hands now at rest, the glory
of her hair making a halo about the face of a very tired sleeping child.

Above the dim blue mists still shrouding the patient jungle the sun
floated, a scarlet ball, heralding the resurrection of another day.

Resurrection. That whisper continued with its insistence upon horizons

beyond the vision of all earthly eyes.

Others, like the legendary Er, had proved that the pulsing of the soul
does not cease with the pulsing of the heart; nevertheless it was well-nigh
impossible to rest one's faith in this matter upon the experiences of others.
Just in this matter. One was prepared to believe the incredible statements of
scientists and astronomers without wrestling individually with their proofs.
Why not, therefore, the vision of those who had eyes to see and ears to hear
beyond the grave? His own past contact with that death-state was failing to
inspire now that his body felt, once more, gloriously alive. One had to
remember not to forget.

"Nothing," had said that exasperating duplicate of St. Francis in the

islands, "can take away one's spiritual experiences."

To that slender link with the future he must trust. Many had not so much
and yet walked untroubled.

Was there not some special revelation for those who, not having seen,
were yet ready outside Gethsemane's gates with the bitter admission, "Thou
has conquered, O pale Galilean"? The wraith of the dying Emperor, forced
to accept such defeat, seemed to smile mockingly at him from the distorted
patches of light and shade outside.

Cyprian appreciated afresh that Ferlie would hardly prove courageous

enough to face her own defeat now without waiting on his decision. His to
lead, forward or back.

And with the poignant realization something snapped. He rose stiffly to

his feet to stand a moment at the window, drawing the salt sea-breeze into
his lungs.

The surrender had become suddenly possible.

He lifted tired eyes to the on-stealing light and his lips moved. They
framed the one word which Ferlie, waking, might have recognized as
representing the clarion call of her utter triumph.

"Vicisti," said Cyprian.

*** END OF THE PROJECT GUTENBERG EBOOK THE FRANTIC
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