a book . as result of a legendary, fascinating meet. few confessions ofgreat directors. and the trip in the universe of Hitchcock. it is not alesson about cinema but perfect occasion to see, in other light,scenes, details, performances, steps of a British director who givesnew sense to Hollywood. not exactly revelations. and not onlyHitchcock. because the documentary propose only a sketch. like aspiderweb. result - an invitation. to see again the films of Hitchcock.to discover the universe of Truffaud. to be witness of a splendid formof admiration, a friendship and a game. to understand the root of aform of rehabilitation of the art of a great director. in essence, amust see for every film fan.
Hitchcock/Truffaut (2015) 720p YIFY Movie
Filmmakers discuss how Francois Truffaut's 1966 book "Cinema According to Hitchcock" influenced their work.
IMDB: 7.41 Likes
- Genre: Documentary |
- Quality: 720p
- Size: 1013.76M
- Resolution: 1280x720 / 23.976 (23976/1000) fpsfps
- Language: Japanese
- Run Time: 79
- IMDB Rating: 7.4/10
- MPR: Normal
- Peers/Seeds: 0 / 3
The Synopsis for Hitchcock/Truffaut (2015) 720p
In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the secrets behind the mise-en-scène in cinema. Based on the original recordings of this meeting-used to produce the mythical book Hitchcock/Truffaut-this film illustrates the greatest cinema lesson of all time and plummets us into the world of the creator of Psycho, The Birds, and Vertigo. Hitchcock's incredibly modern art is elucidated and explained by today's leading filmmakers: Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader.
The Director and Players for Hitchcock/Truffaut (2015) 720p
The Reviews for Hitchcock/Truffaut (2015) 720p
Reviewed byKirpianuscusVote: /10
The only section missing in the film is a discussion of the MUSIC inHitchcock films especially the work and career of BERNARD HERMANN!Neither director touched on the scores for VERTIGO, PSYCHO, or THEBRIDE WORE BLACK. Others like WAXMAN and TIOMPKIN were also neglected!Soundtracks are an integral part of both director's work! Shame on you!Also there was no discussion of the score for TORN CURTAIN! Why noHermann score and a substitute for one by by John Barry? You can writean entire book on film noir music or THE SOUNDS OF DARKNESS. Thinkabout PSYCHO and the "shower scene" without music. It loses itschilling effect. What about James Stewart hanging from a roof gutter inVERTIGO? And that haunting "love theme" in VERTIGO, when Stewart isfollowing Kim Novak in his car and the crescendo of waves breakingagainst the shore when they finally embrace? I can cite many moremoments where music was crucial to a scene in Hitchcock's work, toomany to enumerate here. I just had wished the directors and filmmakerswould have discussed this important phase of both director's work.
Dr. Ronald Schwartz at [email protected] Manhattan
The Greatest Story Hitchcock Ever Told
HITCHCOCK/Truffaut; Document, UK. 2015. director Kent Jones. 78minutes. Viewed on Saturday afternoon in the little tent at SodankyläMidnight Sun Film Festival June 2016. Makes you want to read and devourthe celebrated Truffaut book on Hitch ASAP. Fantastic film. Great shotsof Hitchcock film posters. Sharply selected excerpts from Hitchcockfilms. Opens with a stark still shot of actress Sylvia Sidney in"Sabotage", 1936, and takes off from there on a whirlwind tour of thedirector's career and obliquely some, but not too much, of his personallife.
Comments by Scorcese, Schrader, Wes Anderson, Peter Bogdanovitch,Olivier Assayas, Arnaud Desplechin, Kiyoshi Kurosawa, David Fincher andeven young Jean-Luc Godard, among others. All indicating how they wereinfluenced by Hitchcock one way or another. Kiyoshi speaks in Japanese,the French directors in French. Subtitles in Finnish (natch)...
Many shots of Hitchcock as a young man in London, not yet as rocky-polyas he became later. Actually, not a bad looking if slightly portlyyoung man on a roll. The importance of his wife in the background.Throughout his career he consulted with her regularly on all of hisfilms although she was only credited officially in a few of the earlyones. He is invited to Hollywood. Has no interest in Tinseltown but isitching to get into a fully equipped Hollywoid studio.
One of the high points of the film is an extensive discussion of themaking of PSYCHO, it's social impact in 1960 (people were literallyscreaming in the theaters!) and a detailed analysis of the constructionof the infamously famous shower scene in which ultra sexy Janet Leighis stabbed to death by ultra-psycho Anthony Perkins. This discussion ofthe making of that flabbergastingly powerful scene by the masterhimself could be excerpted and show on its own as a completeindependent master class in filmmaking. Mr. Jones's magnificent 78minute film about the making of a book is, in fact, a Master Class indocumentary filmmaking, and on its own justified this trip to the upperreaches of Finland. Hats off -- Bravo! -- I want to own this film so Ican watch it over and over endlessly.
Among other things it reminds me of my own relationship to Hitchcockover the years. As a youth I saw many of his films routinely when theycame out at my neighborhood theater but only thought of them as greatentertainment, not as Great Art. It was only when I was a student oflinguistics at UCLA that I met many students from the film departmentwho worshiped him as a true artist and a creative genius that my viewsbegan to change.
At the Pacific Film Archive in 1975 I saw every film in a completeHitchcock retrospective arranged by Tom Luddy who later founded theTelluride film festival. It was at this time that I truly began tounderstand the difference between film as entertainment and film as artand how the two can merge without contradiction simultaneouslysatisfying the intellect as well as the need for fun and distraction.
Truffaut himself is, of course, a major character in this film withlive and still footage of Hitchcock as well. Many stills are shown fromthe three day interview in Hitchcock's office at Universal studios in1962 which served as the basis for the book --with Truffaut, Hitchcockand a woman interpreter -- Truffaut didn't know English nor didHitchcock know French. Yet the master recognized Truffaut as anupcoming talent and a worthy interviewer. The Point is made that theywere of different generations but each was cognizant of film as art andrespected the other. Although at the time of the interviews, 1962,Truffaut had only made three films, he was already recognized as amajor new director of international importance. In a late ceremonialspeech at the Hollywood Oscars Truffaut, underlining the respect inwhich Hitchcock was held in France as opposed to the cretin like lackof respect in America, Truffaut states a bit bluntly: "In America youcall him "Hitch" ~~ in France we call him Monsieur Hitchcock!" --
To the very end Monsieur Hitchcock wavered between seeing himself asprimarily entertainer or primarily artist but there is no doubt that hewas most interested in connecting with and manipulating the emotions ofthe audience. So, in a sense he was above all a master of masspsychology --another point subtly and effectively made in thisexceptional study of an exceptional film career.
Hitchcock dies on April 29, 1980 at age 81, and most surprisinglyTruffaut less than four years later, on October 21, 1984, at theuntimely age of 52 of a brain tumor. Hitch's career was over butTruffaut still had untold amounts of offerings in store. His book onHitchcock and this film about the book and the man behind the book arenow part of his deathless contribution to the history of Cinema.