The First Time Once
Rachel Malcolm

I like to think of myself as an amateur de Truffaut. I like the word amateur, because in French it has two meanings. Not only does it mean a non-professional, a non-expert (as it does in English), it also means ‘lover of’ or ‘fan’. When it comes to François Truffaut, I am very much both.

I am not (yet) an expert in the Nouvelle Vague or the collected works of this celebrated director. However I am a huge fan of his work, which I am discovering little by little. It is an experience to savor, and one that I don’t want to rush. 

The first film, Jules et Jim, dates back to 1962. It tells the story of the best friends of the title, and their mutual love for the same woman, Catherine. This is the only film of the three that I had seen before – I watched it while living in Paris as a twenty-two year old student. At that time however, my French was fairly weak, and I was so distracted by straining to understand the dialogue that the beauty of the film simply passed me by. Equipped, nine years on, with a subtitled DVD, I was enchanted by the sheer simplicity of this tale of love and friendship. There are no special effects, no expensive sets – just the drama of a very French ménage à trois that reels you in. Despite the title, it is the frustrating, enigmatic character of Catherine who is at the heart of the film – she is in control of both men, who each put her happiness above their own. Truffaut’s camerawork is very effective here – as Catherine talks about her emotions, there is a subtle freeze-frame on her smile as she says she is happy, and another on her exaggerated downturned mouth when she adds that she used to be sad. Simple, but so effective. 

The second film, L’homme qui aimait les femmes (The man who loved women), was released in 1977. I saw it as a very early precursor to the confessional culture that has invaded our screens through reality TV and social networking over the past few years. The man of the title, Bertrand, lives for women – enjoying one passionate liaison after another. He is moved to write about his experiences, and this reminded me of the recent tell-all sexual blogs turned books that have become bestsellers. As in Jules et Jim, the film places no moral judgment on the characters, male or female, which is extremely refreshing. Bertrand sleeps around, but the women he sleeps with are lively characters in their own right – they are not reduced to objects. The issues raised – promiscuity, the pursuit of passion over stability, the wholesale rejection of monogamy – raise passions and provoke anger and extreme intolerance even today, mainly from people who feel threatened when they see others enjoying a lifestyle that they themselves have rejected as ‘unsafe’ or unwise. Again, it’s thought-provoking stuff from Truffaut, well ahead of its time. 

The third film, La femme d’à côté (The woman next door) had its cinema release in 1981 and is Truffaut’s penultimate film. Like L’homme qui aimait les femmes, it begins with a final scene that seems to signify something pretty bad has happened (in this case, a speeding ambulance), then jumps back to tell the story from the start. Hence there is a sense of impending doom throughout. In this film, Bernard, happily married to Arlette, is bouleversé (his world is turned upside down) when his former lover Mathilde moves in next door with her husband. Passions are quickly reawakened between the two, and the drama is heightened as they struggle to hide their affair from their spouses. I described this film on my blog as ‘invigorating’ and it really is – despite the subject matter, it left me feeling vibrant and full of energy. Something of the characters’ headlong pursuit of passion, despite its inherent danger, seemed to ooze off the screen. Having said that, I was left conflicted by the message of La femme d’à côté, which, as I saw it, was that passion matters more than happiness. Again, you are invited to leave your moral judgments at the door when watching this film. I think that is a good thing – but it’s not always easy, especially when what you are watching may have echoes of what you have experienced in your own life. As someone who has been in a relationship for many years, I couldn’t help but sympathize with Bernard’s unsuspecting and entirely innocent wife. In another life, I felt, that could have been me. 

Each of these films examines love and passion from a very non-traditional standpoint. The fact that they are a challenging watch even now in the 21st century when we tend to believe that ‘anything goes’ is a testament to Truffaut’s talent and vision in bringing these stories to the screen.  

There are many more of this director’s films to watch. I could invest in a DVD box set and gorge myself on a couple of days’ intensive viewing, but, like eating a whole tub of ice cream in one sitting, I think that would be unwise. Choosing the next film with care, focusing on it, and leaving time to reflect are all part of the process. You only get to experience something for the first time once. 

First impressions count, but the subtleties and intricacies of these films reward repeat viewing. I would urge anyone reading this to introduce some Truffaut into your life. Whether you are an amateur, like me, or more of an expert, an hour or two spent watching a François Truffaut film is time well spent.

Rachel Malcolm is a writer and editor based in London, England. She has a passion for all things French, and writes a blog on French films, www.francofille.com. When she is not watching French films, she loves reading, writing, cooking, growing herbs, fruit and vegetables on her tiny balcony, and spending time with friends and family.

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