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François Truffaut L’Uomo Che Amava Il Cinema, I Libri, Le Donne… François Truffaut l’uomo che amava il cinema, i libri, le donne… aprile-giugno 2005 In collaborazione con il Service de Coopération et d’Action Culturelle de l’Ambassade de France en Suisse, con l’Alliance française Lugano / Locarno et Sopraceneri e con Filmcoopi Zürich Circolo del cinema Locarno Circolo del cinema Blenio PROGRAMMA Circolo del cinema Locarno LuganoCinema 93 Cinema Morettina, 20.30 Cinema Iride, 20.30 Sala dei congressi Muralto, 20.30 * Cineclub del Mendrisiotto Circolo del cinema Bellinzona e Ufficio cultura del Comune di Chiasso Cinema Forum 1-2, ma 20.30 / sa 18.00 Cinema Teatro Chiasso, 20.30 Circolo del cinema Blenio Cinema-teatro Blenio Acquarossa, 20.30 LU LO BE CH Les mistons 1957 ma 19.4 ve 22.4 sa 23.4 ma 3.5 Les 400 coups 1959 Tirez sur le pianiste 1960 ve 29.4* Jules et Jim 1961 gi 21.4 lu 2.5 ma 26.4 Antoine et Colette 1962 ma 26.4 ve 13.5 ma 3.5 ma 10.5 Baisers volés 1968 La peau douce 1964 gi 28.4 Fahrenheit 451 1966 lu 30.5* La mariée était en noir 1967 ma 3.5 sa 7.5 La sirène du Mississippi 1969 ma 10.5 L’enfant sauvage 1969 ma 17.5 Domicile conjugal 1970 ma 24.5 Les deux anglaises et le continent 1971 sa 21.5 Une belle fille comme moi 1972 ma 24.5 La nuit américaine 1973 gi 12.5 L’histoire d’Adèle H. 1975 ma 17.5 ma 31.5 L’argent de poche 1976 ma 24.5 L’homme qui aimait les femmes 1977 ma 31.5 ma 7.6 La chambre verte 1978 ma 7.6 sa 4.6 L’amour en fuite 1979 ma 31.5 Le dernier métro 1980 lu 6.6* ma 14.6 La femme d’à côté 1981 ma 14.6 ve 10.6* sa 11.6 Vivement dimanche! 1982 gi 16.6 * Proiezioni in dvd a Muralto Acquarossa: Entrata: fr. 10.- / 8.- / 6.- Tessera per tutta la rassegna : Jules et Jim me 11.5 fr. 100.- / 80.- / 60.- La femme d’à côté me 18.5 www.cicibi.ch www.luganocinema93.ch www.chiasso.ch Impossibile per chi ama il cinema non amare i film di Truffaut, che amava il cinema appassionatamente, più della vita stessa. Famosa la frase con cui Ferrand, il regista di La nuit américaine interpretato dallo stesso Truffaut, cerca di consolare il giovane attore Alphonse (Jean- Pierre Léaud), che vuole abbandonare il cinema in seguito a una delusione sentimentale: “Il cinema è più importante della vita. Non ci sono ingorghi nei film, né stasi, né tempi morti. I film vanno avanti come treni nella notte”. Truffaut era convinto che il cinema rappresentasse un miglioramento rispetto alla vita: “Considerate il potere di cui si dispone quando si gira un film, di organizzare tutta una vita a nostro piacimento, senza ingorghi, una vita intensa… Io penso che il potere del regista sia estremamente affascinante. È come la continuazione dei giochi dell’infanzia… Orson Welles, quando girava Citizen Kane, ebbe a dire, a proposito del cinema: È il più bel giocattolo elettrico che possa offrirsi un adulto”. Al pari del cinema Truffaut amava i libri, il testo scritto, al punto che non esiste un suo solo film che non faccia riferimento e non renda omaggio alla letteratura e all’atto dello scrivere. E proprio scrivendo di cinema, dei film degli altri, egli comincia, come molti suoi amici della Nouvelle Vague, la sua carriera: un’attività, quella della critica, che continuerà a svolgere per quasi tutta la vita, anche quando è ormai un regista affermato. Il passaggio dietro la macchina da presa è stato per Truffaut il naturale proseguimento dell’atto dello scrivere, in ossequio al precetto della caméra-stylo di Alexandre Astruc, e questo diventerà per lui come per Godard, Rivette, Rohmer e Chabrol l’attuazione pratica di quella “politique des auteurs” che contribuì non poco a rivoluzionare la concezione del cinema, affrancando il regista dal tradizionale ruolo hollywoodiano di artigiano-esecutore e promuovendolo a chiare lettere a quello di artista-creatore. Truffaut amava l’arte: “Tre film al giorno, tre libri alla settimana, dei dischi di grande musica basteranno a fare la mia felicità fino alla mia morte, che un giorno dovrà pure arrivare e che egoisticamente temo”. La morte arriva, con largo anticipo, il 21 ottobre del 1984, stroncando a soli 52 anni la vita di quest’uomo infaticabile, generoso, appassionato, e lasciando un vuoto incolmabile nella scena del cinema mondiale. Truffaut amava le donne: non c’è attrice che abbia lavorato con lui di cui non si sia innamorato. Truffaut amava i bambini, la loro innocenza minacciata dalla meschinità degli adulti, e molti sono i suoi film dedicati al mondo dell’infanzia, da Les mistons a L’argent de poche, da Les 400 coups a L’enfant sauvage ai cinque episodi delle Avventure di Antoine Doinel, interpretati da quell’eterno bambino, da quell’ “orfano” in cerca di “famiglie sostitutive” che è Jean-Pierre Léaud, figlio adottivo e nel contempo autentico doppio del regista. Truffaut, in fondo, amava la vita molto più di quanto lascino supporre le sue dichiarazioni d’amore al cinema. Il progetto di questa retrospettiva era nel cassetto dei cineclub da lungo tempo; e non potrebbe essere diversamente, dal momento che gli animatori dei cineclub non fanno altro, in fondo, che cercare di far amare i film che loro stessi amano. E alla fine, praticamente impossibilitati a compiere delle scelte che avrebbero comportato delle rinunce, hanno optato per il “tuttotruffaut”, cioè per l’integrale dei suoi 21 lungometraggi e per 2 gioielli di cortometraggi che a giusto titolo vanno considerati fra le cose più belle del regista francese (Les mistons, di fatto il vero esordio nel 1957, dopo l’avventura cineamatoriale di Une visite dell’anno precedente, che lo stesso autore giudica “un brutto cortometraggio a 16mm”; e Antoine et Colette, episodio di L’amour à 20 ans e secondo capitolo delle Avventure di Antoine Doinel). A parte Une visite, manca solo l’altro corto Une histoire d’eau, realizzato nel 1958 con Jean-Luc Godard, dove le scelte di quest’ultimo prevalgono decisamente su quelle del Nostro. Evidentemente era impensabile proporre tutti i film in tutte le località, per semplici motivi di tempo; ma lo spettatore desideroso di scoprire o di rivedere tutta l’opera di Truffaut potrà farlo spostandosi tra Chiasso, Lugano, Bellinzona e Locarno (senza dimenticare Acquarossa) e usufruendo di una tessera particolarmente vantaggiosa. I ringraziamenti di rito vanno in questa occasione alla Filmcoopi di Zurigo, detentrice dei diritti di quasi tutti i film, alla MK2 di Parigi, nonché all’Ambasciata di Francia in Svizzera e alle due sezioni ticinesi dell’Alliance française che hanno accettato di essere partner dell’iniziativa. A noi non resta che augurare al pubblico, riprendendo un’espressione che lo stesso Truffaut aveva scelto come titolo di una sua raccolta di scritti sul cinema, un lungo e appagante plaisir des yeux. Michele Dell’Ambrogio Circolo del cinema Bellinzona Les mistons 1957 Sceneggiatura: François Truffaut, da una novella di Maurice Pons, pubblicata nella raccolta Virginales; fotografia: Jean Malige; montaggio: Cucile Decugis; musica: Maurice Le Roux; interpreti: Bernadette Lafont, Gérard Blain e “les mistons”; produzione: Les Films du Carrosse. 16mm, bianco e nero, v.o., 17’ Cinque ragazzi di Nîmes (i “mistons) si divertono a disturbare l’intimità di una giovane coppia d’innamorati (Lafont e Blain). Bernadette, sorella maggiore di uno di loro, diventa il simbolo e la vittima dei sogni segreti e delle fantasticherie erotiche di questi adolescenti. Per me, regista agli esordi, come per Maurice Pons, la storia di quei due innamorati vittime delle persecuzioni di un pugno di monelli dispettosi, era innanzi tutto un pretesto per mostrare, da un lato dei ragazzi in libertà, dall’altro degli innamorati impazienti Les 400 coups 1959 Sceneggiatura: François Truffaut, Marcel Moussy; fotografia: Henri Decae; montaggio: Marie-Josèphe Yoyotte; musica: Jean Constantin; interpreti: Jean-Pierre Léaud, Albert Rémy, Claire Maurier, Patrick Auffay, Georges Flamant, Yvonne Claudie, Robert Beauvais, Pierre Repp, Guy Decombles… Jeanne Moreau, Jean-Claude Brialy, Jacques Demy; produzione: Les Films du Carrosse – SEDIF. 35mm, bianco e nero, v.o. st. t., 101’ Primo episodio delle avventure di Antoine Doinel, un ragazzo dodicenne, alle prese con le prime difficoltà della vita. Dopo varie peripezie, Antoine (Léaud) e il suo amico René (Rémy) rubano una macchina da scrivere per procurarsi il denaro necessario per andare a vedere il mare. Ma si fanno pizzicare e Antoine finisce in un Centro per delinquenti minorili… Mi rendo conto che si tratta di un film hitchcockiano, perché ci si identifica dall’inizio alla fine con il bambino… L’uso dello scope rappresenta un falso lusso… In questo film, dove la scenografia è per lo più triste, grigia, sporca, avevo paura di fare un film squallido, poco gradevole da guardare. Quando il ragazzo va vuotare la spazzatura, in scope è meno squallido che in formato normale, e non è meno realistico. Tirez sur le pianiste 1960 Sceneggiatura: François Truffaut, Marcel Moussy, dal romanzo Down There di David Goodis; fotografia: Raoul Coutard; montaggio: Cucile Decugis, Claudine Bouché; musica: Georges Delerue; interpreti: Charles Aznavour, Marie Dubois, Nicole Berger, Albert Rémy, Claude Mansard, Daniel Boulanger, Michèle Mercier…; produzione: Pierre Braunberger per Les Films de la Pléiade. 35mm (dvd), bianco e nero, v.o. st. it., 80’ Per colpa dei fratelli, il pianista da bistrot Charlie Kohler (Aznavour) si trova coinvolto in un regolamento di conti tra gangster: riuscito a fuggire insieme all’amica Léna (Dubois), pensa di riprendere la brillante carriera abbandonata anni prima, ma gli eventi non glielo permetteranno… Col Pianiste vorrei far piangere le donne e ridere gli uomini… Sarà indubbiamente un documentario sulla timidezza.
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