Day for Night

I hate French movies. I hate their pretentious stories and their pretentious actors. I hate the pretentious fashion and the pretentious chanson soundtracks. I hate the pretentious titles and the pretentious English translations of those titles. I hate the pretentious people who love them and the pretentious person inside me who hates all this pretentiousness. But I liked this movie. GODAMMIT FRANCE. I hate you even more now. My Final Rating: 6.5 berets / 10 Royales with Cheese.

I had a friend that borrowed my copy of From Dusk til Dawn on dvd and managed to put in the wrong disc. The next day he told me it sucked and when prodded revealed he'd watched the Full Tilt Boogie documentary of the making of the film for half an hour before he gave up. I guess that's unrelated. Doesn't feel like it though.

The day may come when I'll be tired of watching films about film making, but I don't expect it'll be here any time soon. I already knew that Truffaut was just a film fanboy who's playing at being a director, and Day for Night proves it. He might just be the greatest pretender there ever was, though. It must've been hard for him and all the others to separate his performance in the film from his job as director of the film. Then again, the same could be said for every part of the film.

Cinema is life.

Marvelous comedy from Truffaut that is both a celebration of film, and a satire of the absurdity that surrounds it. Quite watchable, though perhaps not very re-watchable.

A film about people who love making them, and the way their lives are changed for better or worse while doing so. Feels like a documentary half the time, and it drew me in surprisingly quickly. Switches easily and often between being upbeat, casual, hectic, sad, funny, and melancholy. To any time travelers reading this in the future; if you're heading to 60's or 70's France, please let me hitch a ride.

Beneath the festive comedy that is 'Meet Pamela' lies an interesting commentary on the ups and downs of the filmmaking process as we witness the cast & crew grow closer and apart with each new situation. We're invited into a world we mostly consider as hidden and intangible, yet presented as a welcoming and lively environment. One of the finest and funniest films about filmmaking. Léaud is unintentionally hilarious as the smooth-talking, naive Alphonse. Really, what's not to love about him ?

Absolutely hilarious satire on the making of a film. Any movie buff will love this.

Another magical film by Truffaut. Although there are fewer sublime moments than in Jules et Jim or 400 Blows, the humor and eccentricity of the characters makes up for it.

Truffaut shows us all the particulars, generalities and absurdities about film production interspersed with an array of fun on and off-set entanglements between cast and crew. It's a must-watch for anyone with a fleeting interest in filmmaking or any semblance of love for cinema. Made me sit, enchanted, with a big goofy grin on my face for two hours. Also made me want to fire up my old 'Steven Spielberg's Director's Chair' PC game.

"Movies go on like trains in the night."

The second best film about filmmaking ever made. Women might not be magic and men might not be magic, but Truffaut is.

The ultimate film about cinema. Nostalgic and beautiful.

COuld be the best movie about film making...

As far as French meta films about the film making process are concerned, Day For Night is certainly no Contempt, not least because the personal dramas experienced by the actors behind the scenes are just not as compelling. Unfortunately their affairs, doubts and grievances dominate the second half, and they don't really bleed into the 'on set' reality in an interesting way. The early scenes of Truffaut directing his cast, trying to control chaos, work best and are a pure delight

I feel there wasn't a lot to this, yet I certainly enjoyed it. I've not seen a film that looks at the production of a film so specifically before, it's like a fictionalised film of a behind the scenes feature. I think people interested in film production (like myself) will find this more interesting and entertaining than others (not to mention a little more depressing). A couple of the montages here are some of the best love-letters to film I've ever seen in a film.

Truffaut has an infectious love for film and filmmaking that bleeds right through the screen and into the hearts of the viewers. It's all controlled chaos but somehow something magical can be pulled out of it. There are a few flaws, specifically a few bizarre montages edited in a horrible New Wave way, and a slow second half. Still, it's a fun watch. Thinking about how it was filmed with all the self-referencing is mind-boggling.

I tend not to enjoy films about the filmmaking process, but Day For Night is a genuinely fun and lovely movie. Truffaut's adoration for what he does is really apparent. "I need some money to go to a whorehouse" is just a hilarious and perfect line, too.

Alternate title: "Terry Gilliam's Every Waking Moment." Seriously, though, this is as lighthearted and joyous a movie as you can find. It's a comedy of misunderstandings and mistakes, but its characters prevail through every problem big and small, which is what makes them so endearing. And I'll never complain about getting to look at Jacqueline Bisset for two hours. What a babe.

I really enjoyed that

Epic cat scene

Truffaut's love letter to filmaking and the chaos that surrounds it.

One of the greatest films about film-making, and the only one that presents it as a joyous, social and invigorating experience (as opposed to the living hell of films like Living in Oblivion). And like all of Truffaut's films it's infused with a deep love for people, life, and mainly cinema.

A funny well shot movie, it's equal parts a commentary on movie making and on personal relationships. There are a lot of nice touches, but occasionally Truffaut goes overboard, like all the references to filmmakers scattered throughout the film.

Overacted and overrated and to come out with some broadstroking discriminatory content i'm really not convinved the french are good at humor but that could be my prejudices. I kept watching bc watching a film being made will always interest me. i was devastatingly uninterested in the farces around the characters though.

This is a fictional but very in depth look at the making of a movie. This film has a good ensemble cast. The script is not fancy but it works. Overall I would recommend this film.

I also like movies :-)

This is by far my favorite Truffaut I've seen to date, and is one of the better movies about making movies. It basically traces the making of a fictional film and all that entails. The acting is strong, especially from Truffaut himself (playing the director) and Jacqueline Bisset. Often funny, and it's especially a treat to get a look at how certain types of scenes are filmed and the kind of decisions directors need to make on a day to day basis. Great film.

Movies are cool!!!!!! Making movies is a logistical nightmare that leads to magic!!!!!!! Kitties rule!!!!!!!!!

The director takes great joy in submitting to the screen - to the analysis - various pieces of evidence and symbols in a trial on his life, which is also his film; amidst the scenes that play out his life, he remains the observer, the person being asked without taking part. The joy of this position which is from without any kind of self in the images, without any 'true' participation, makes Truffaut the Ozu of the west.

Director Ferrand: "Come on Alphonse. Go back to your room, re-read the script, learn your lines, then try to sleep. Tomorrow we work. That's what matters. Don't be a fool. You're a very good actor. No one's private life runs smoothly. That only happens in the movies. No traffic jams, no dead periods. Movies go along like trains in the night. And people like you and me are only happy in our work. I'm counting on you."

90.00

It gives you feeling for how relationships are built while creating a movie. The characters feel real and are fully developed in the time allowed.

Truffaut's framing of the film-within-a-film is masterful. Shame the various plot threads don't always connect too well structurally, because it's clear Truffaut has many things he wants to say about cinema as an art form here.

A movie-inside-a-movie: It's a fun riff on the parallels of film and real life. This is one of the few movies I've been anxious to listen to a director's commentary on, but alas, there wasn't one on my copy. Instead of the question "Are women magic?" we ponder "Are movies magic," and this one certainly is.

08 Kasim 12 & Truffaut tüm filmografisi boyunca deştiği soruları tekrardan, daha farklı bir yol ile deşiyor. "Sinema hayatın kendisinden önemli midir?" ve "Kadınlar büyülü müdür?"

Truffaut's déclaration d'amour au cinema...

A very fun film. Stylistically, it's fairly close to Altman with its loose narrative and unique ensemble of characters, and watching them interact is, like with Altman, a pure joy. Thoroughly entertaining.

#269

DON'T BELIEVE THE HYPE!

Such a joyous, delightful movie that's hard not to love. The balance between the movie's movie and the actual movie blows my mind.

Truffaut loves cinema, I love Truffaut, I love cinema and I love this film.

I can watch this film over and over again and still be mesmerized by it.

Mistake - 1) During the filming of the car crash scene, when the stunt man backs up the car driving through the the open door, and when he jumps free as the "driverless" car supposedly heads for the cliff where it will crash, someone else is visible inside the car, actually driving.

263

I heard so much about how great this movie was... Truffaut's a genius, I heard... this is a 'movie person's movie' I was told... yeah, yeah, yeah, whatever. Now don't get me wrong. The story was (somewhat) interesting and the cast of characters were (marginally) charming. But really, what's the big freakin' deal about this movie? Personally, I think it's a bit overrated.

274

A beautiful movie.

Not the typical Truffaut - more of his love affair with filmmaking. This is the type of movie Godard always wanted to make but never did. I love Jean-Pierre Leaud.

# 278

Doesn't matter if it's good or bad, just film it!

Score based on distant memory.

Em honra de Valentina Cortese (1923 - 2019). Por muitos anos esse foi meu Truffaut favorito - e meu primeiro do diretor desde que o vi numa madrugada da rede globo nos anos 90 - pelo menos o fora até agora nessa revisão que o fez diminuir aos meus olhos, não que ainda não continue um grande filme, mas não é mais a obra-prima que eu imaginara nos meus dias de juventude. Box Versátil A Arte de François Truffaut.