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Georges Delerue

Review: The Day of the Jackal

[Originally published in Movietone News 23, May-June 1973]

The critical ascendancy of Fred Zinnemann has always bewildered me. Still more bewildering is the question of how to engage his inadequacy in critical terms. How about this? Fred Zinnemann is the sort of filmmaker who gives good taste a bad name. His work is pretentious, and the pretentiousness is of a special kind: a pretense to delicacy, to discretion; an ostentatious avoidance of emotional excess and dramatic patness. Even in a film taken from a prize-winning historical play, A Man for All Seasons (1966), with a screenplay still rife with pregnant lines and deftly turned speeches, one kept having a sense of the event—if not necessarily the point—passing one by, so that when a last-moment narrator ticked off the ignominious comeuppances of Sir Thomas More’s persecutors following upon his dispatch, one chuckled not only at the intended irony but also at the unintentional one: that this turning of the tables of historical justice (or irrelevance) didn’t quite matter either.

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Review: Day for Night

[Originally published in Movietone News 30, March 1974]

Truffaut’s Day for Night is a delight. It’s a film about some people making a film, with Truffaut himself playing the film-within-a-film’s director, but there’s only a little cinematic selfconsciousness in it. Above all, it is a very charming entertainment. Few, if any, of Truffaut’s films have had such a heady feeling of joy and pleasure all the way through. And few, if any, of the various films made about filmmakers and filmmaking have been so self-effacing. Jacqueline Bisset, Jean-Pierre Léaud, Jean-Pierre Aumont and Valentina Cortese play the actors in the film of one M. Ferrand (Truffaut) and each to some extent has been given a role (in Day for Night) which evokes his “real-life” image. But while Truffaut gives the Ferrand character three dream sequences in which a small boy—Ferrand and/or Truffaut as child?—steals some Citizen Kane stills from a theater display, the film is not really Truffaut’s 8 1/2.

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