Word: truffauts
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Dates: during 1970-1979
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...moves only when the actors' wanderings force it to do so. Benton's focus is so tight that Kramer shows a far more domestic and grittier view of Manhattan than the Allen and Mazursky films. The cinematographer is Nestor Almendros, a frequent collaborator of François Truffaut's and Eric Rohmer's and a brilliant portraitist...
...Truffaut was the director whom Producer Stanley Jaffe first hired for Kramer. When scheduling conflicts developed, Jaffe turned to Benton. Though he has directed only two previous movies, Bad Company (an antic western with Jeff Bridges) and The Late Show (an eccentric detective story with Art Carney and Lily Tomlin), Benton's career stretches back over a decade. With his longtime writing partner, David Newman, he co-authored the most influential film script of the '60s, Bonnie and Clyde, which, like Kramer, leavened conflict with smart wit. He and Newman also collaborated on such diverse '70s movies...
When a European director makes a film in English, the result is almost always disaster: Truffaut, Antonioni, Bergman, Visconti, Wertmuller have all come to grief when straying from their mother tongues. But Bertolucci, who once broke down the limits of propriety in Last Tango in Paris, has now crashed through the language barrier as well. With the crucial collaboration of Jill Clayburgh, he has made a movie in English without sacrificing any artistic integrity. Indeed, Luna may be his most controlled and personal film to date...
...Truffaut may be underestimating the coolness of the newest wave of young actresses. Brooke Shields smiles sweetly when told of his theory. "I don't think I've ever gotten nervous, and I have done six films," says she. (Four have not yet been released; the most recent to appear is Just You and Me, Kid, with George Burns...
Lately, no one has used children so well, or so lovingly, as François Truffaut. Jean-Pierre Léaud-one of Agee's "perfect people"-found the full range of adolescent feeling in The 400 Blows. The roots of the performance could be traced to Jean Vigo, whose Zero for Conduct (1933), made with no professional kids, is still the screen's greatest poem to youthful anarchy. The 400 Blows exerted a strong influence on George Roy Hill, who in 1964 made The World of Henry Orient, which is about two lovesick Manhattan schoolgirls. As Merrie...