found enjoyment in it. No, this isn't a major work of the French New Wave, though Truffaut is one of its creators and stars. Soufflés are notoriously difficult to make and so are their cinematic counterparts: the light romantic comedy. In this case, Truffaut displays the same perfection of tone, the perfect mixture of light and heavy, that allows such light fare to rise... to art.
A group of actors has gathered in Nice to film a not-very-good film, but one which nonetheless represents a needed payday--- artists cannot live by high art alone! There are many crises, many love affairs that not unexpectedly occur, none of them particularly interesting or original: it is in the skill of the players interpreting their own day-to-day travails that the interest lies; also, the consummate skill of the chef who knows how to organize and direct his "kitchen." The cast has many delightful secondary characters, several older French stars portraying their different responses to aging, and Jaqueline Bisset and Jean-Pierre Leaud at the height of their stardom.
In contrast, I very recently watched what many consider a masterpiece of the portrayal of human relationships, "Une Femme Mariée," by Godard. Though I like Jean-Luc's original take on filming, his disrespect for conventionality, I was struck by the difference between the brilliant and inventive technique, its innovative and original style, and the trite actions and never-ending-words of the characters. Rohmer and Truffaut have far less sizzle, but far more taste.
Like all great farces, Truffaut's has very serious thought behind it. It has taken me several decades to catch up to the young (at the time) man. What an enormous pity he died so early.
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