François Truffaut: influences, peers and legacy

Every connection with its receipt

Truffaut came to cinema as a critic — André Bazin's protégé, Cahiers du Cinéma's angriest young polemicist — before turning the auteur theory into practice with The 400 Blows. This mix traces the lineage he openly claimed (Hitchcock, Renoir, Vigo), the Paris scene that produced him, and the filmmakers who still shoot childhood and cinephilia in his image.

The Kynda mix for François Truffaut

• Key Influence · Shadow of a Doubt by Alfred Hitchcock (1943). Truffaut's 1962 week of taped interviews with Hitchcock became the book Hitchcock/Truffaut (1966), the single most influential act of advocacy in film criticism — it reframed a studio entertainer as a moral artist. Shadow of a Doubt was Hitchcock's own stated favorite and a touchstone in their conversations; its small-town menace and doubled protagonists feed directly into Truffaut's thrillers like The Bride Wore Black and Mississippi Mermaid.
• Influencia Obscura · Zéro de conduite by Jean Vigo (1933). Vigo died at 29 having made four films, and Truffaut was among the critics who built his posthumous reputation. Zéro de conduite's rebellious boarding-school boys, their contempt for petty authority and their surges of anarchic joy, are the direct ancestor of Antoine Doinel's classroom and reform school. Truffaut's framing of adult institutions as absurd and childhood as the only honest state is Vigo's bequest.
• Local Roots · Paris nous appartient by Jacques Rivette (1961). Rivette and Truffaut met in the Latin Quarter ciné-club culture around Henri Langlois's Cinémathèque Française, where the future New Wave essentially educated itself. Rivette shot Paris nous appartient over years on scraps of film stock, partly with help from Cahiers colleagues; its conspiratorial, wandering Paris is the same city of improvised exteriors and borrowed apartments Truffaut filmed for The 400 Blows.
• Beyond the Medium · Jules et Jim by Henri-Pierre Roché (1953). Truffaut found Roché's first novel, written when its author was in his seventies, on a secondhand bookstall and was struck by its telegraphic prose. He corresponded with Roché, who died before the 1962 film was made. Truffaut's solution — a rapid voice-over narration lifted almost verbatim from the page — let literature's compression survive on screen, and he returned to Roché for Two English Girls.
• Peer · Breathless by Jean-Luc Godard (1960). Truffaut wrote the treatment Breathless was based on and Chabrol served as technical adviser; it is the New Wave's founding collaboration. The friendship collapsed spectacularly in 1973 when Godard attacked Day for Night as a lie about filmmaking and Truffaut replied with a savage letter. Their split defines the movement's two poles: Truffaut's humanist storytelling against Godard's political rupture.
• From the Canon · The 400 Blows by François Truffaut (1959). Shot in Paris on a small budget after Truffaut had been banned from the Cannes festival for his criticism, it won him Best Director there the following year. Jean-Pierre Léaud's Antoine Doinel draws on Truffaut's own truancy, petty theft and time in an observation centre. The freeze-frame on the boy's face at the sea ends the film without resolution and became the New Wave's defining image.
• Key Collaborator · Masculin Féminin by Jean-Pierre Léaud (1966). Léaud was cast at fourteen from a newspaper ad and played Antoine Doinel across five Truffaut films over twenty years, an unmatched actor-director partnership that doubled as a quasi-paternal relationship. Lent out to Godard, he became the face of the whole New Wave; Masculin Féminin shows the same jittery, self-dramatizing energy Truffaut shaped, pointed at politics rather than romance.
• Legacy · Rushmore by Wes Anderson (1998). Anderson has repeatedly named Truffaut among his formative directors and lifted his devices openly: the freeze-frame, the chapter structure, the precocious boy at war with school authority. Max Fischer is Antoine Doinel rerouted through Texas prep-school comedy, and the Doinel cycle's blend of melancholy and mischief runs through Anderson's work up to The French Dispatch, his explicit love letter to French culture.

What influenced François Truffaut

• Jean Renoir (1894). Truffaut explicitly praises Renoir’s filmmaking. (also via The 400 Blows, The Golden Coach, The Rules of the Game) “Of Jean Renoir , he said: "I think Renoir is the only filmmaker who's practically infallible, who has never made a mistake on film.” (Wikipedia)
• Roberto Rossellini. Rossellini is among the filmmakers Truffaut admired. (also via Journey to Italy) “François Truffaut (off) talks about the influence of Roberto Rossellini on his work, especially for "Les 400 coups", "this film owes him a lot."” (INA mediaclip)
• André Bazin. Bazin was a mentor to the young Truffaut. (also via What Is Cinema?) “he came under the tutelage of film critic André Bazin as a young man” (Wikipedia)
• Jules et Jim by Henri-Pierre Roché (1953). Jules et Jim (Henri-Pierre Roché) — culture for François Truffaut (also via Jules and Jim) “The film was adapted from Henri-Pierre Roché 's autobiographical novel, written when he was seventy-four” (Wikipedia)
• Alfred Hitchcock (1899). The article identifies Hitchcock as Truffaut’s hero. (also via Shadow of a Doubt) “He wrote Hitchcock/Truffaut (1966), a book-length interview with his hero Alfred Hitchcock” (Wikipedia)
• The Golden Coach by Jean Renoir. Truffaut named his production company after Renoir's film The Golden Coach. “Truffaut named his production company "Les Films du Carrosse" after Renoir's The Golden Coach ( Le Carrosse d'Or ).” (Wikipedia)
• Little Fugitive by Morris Engel. Truffaut directly credits Morris Engel's film for enabling the New Wave. “Our New Wave would never have come into being, if it hadn't been for the young American Morris Engel who showed us the way to independent production with [this] fine movie.” (Wikipedia)
• The Rules of the Game by Jean Renoir (1939). The Rules of the Game (Jean Renoir) — titan for François Truffaut “In 1954, Truffaut wrote an article in Cahiers du cinéma, "Une Certaine Tendance du Cinéma Français" ("A Certain Trend of French Cinema"), in which he attacked the state of French films, lambasting certain screenwriters and producers, and…” (en.wikipedia.org)
• Shadow of a Doubt by Alfred Hitchcock (1943). Shadow of a Doubt (Alfred Hitchcock) — titan for François Truffaut “He wrote Hitchcock/Truffaut (1966), a book-length interview with his hero Alfred Hitchcock which tied for second on Sight and Sound's list of the greatest books on film.” (en.wikipedia.org)
• Thérèse Raquin by Émile Zola. Zola’s novel inspired Truffaut’s early literary ambition. “At age eleven, he read Émile Zola 's Thérèse Raquin (1868), which inspired him to become a novelist.” (Wikipedia)
• Casque d'or by Jacques Becker (1952). Casque d'or (Jacques Becker) — ghost for François Truffaut “In 1954, Truffaut wrote an article in Cahiers du cinéma, "Une Certaine Tendance du Cinéma Français" ("A Certain Trend of French Cinema"), in which he attacked the state of French films, lambasting certain screenwriters and producers, and…” (en.wikipedia.org)
• Ingmar Bergman (1918). Bergman is among the filmmakers Truffaut admired. “Truffaut expressed his admiration for filmmakers such as Luis Buñuel , Ingmar Bergman , Robert Bresson , Roberto Rossellini and Alfred Hitchcock .” (Wikipedia)
• Werner Herzog. Truffaut explicitly praises Herzog’s importance as a director. “Truffaut called German filmmaker Werner Herzog "the most important film director alive."” (Wikipedia)
• What Is Cinema? by André Bazin (1958). What Is Cinema? (André Bazin) — culture for François Truffaut “Widely regarded as one of the founders of the French New Wave, he came under the tutelage of film critic André Bazin as a young man and was hired to write for the latter's Cahiers du Cinéma, where Truffaut became a proponent of the auteu…” (en.wikipedia.org)
• Journey to Italy by Roberto Rossellini (1954). Journey to Italy (Roberto Rossellini) — titan for François Truffaut “== Commentary on other filmmakers == In his book The Film in My Life Truffaut wrote "I demand that a film express either the joy of making cinema or the agony of making cinema." Truffaut expressed his admiration for filmmakers such as Lu…” (en.wikipedia.org)
• Robert Bresson. Bresson is among the filmmakers Truffaut admired. “Truffaut expressed his admiration for filmmakers such as Luis Buñuel , Ingmar Bergman , Robert Bresson , Roberto Rossellini and Alfred Hitchcock .” (Wikipedia)
• Paradis Perdu by Abel Gance. Seeing Gance’s film began Truffaut’s obsession with cinema. “He was eight years old when he saw his first movie, Abel Gance 's Paradis Perdu ( Paradise Lost , 1939), beginning his obsession.” (Wikipedia)
• Luis Buñuel. Buñuel is among the filmmakers Truffaut admired. “Truffaut expressed his admiration for filmmakers such as Luis Buñuel , Ingmar Bergman , Robert Bresson , Roberto Rossellini and Alfred Hitchcock .” (Wikipedia)
• Jean Vigo. Thomson connects the film’s style to Vigo. (via The 400 Blows) “Thomson writes that The 400 Blows "securely tied the new films to Renoir , Vigo , and the French tradition of location shooting, flowing camera, and offhand lyricism."” (Wikipedia)
• Mutt and Jeff by Bud Fisher. Kael compared the film’s title characters to Mutt and Jeff. (via Jules and Jim) “She called the title characters " Mutt and Jeff , Sancho Panza and Don Quixote , devoted friends, contentedly arguing about life and letters."” (Wikipedia)
• Sancho Panza by Miguel de Cervantes. Kael compared a title character of Jules and Jim to Sancho Panza. (via Jules and Jim) “She called the title characters " Mutt and Jeff , Sancho Panza and Don Quixote , devoted friends, contentedly arguing about life and letters."” (Wikipedia)
• Don Quixote by Miguel de Cervantes. Kael compared a title character of Jules and Jim to Don Quixote. (via Jules and Jim) “She called the title characters " Mutt and Jeff , Sancho Panza and Don Quixote , devoted friends, contentedly arguing about life and letters."” (Wikipedia)
• Le Plaisir by Max Ophüls (1952). Le Plaisir (Max Ophüls) — ghost for François Truffaut (themoviedb.org)
• The Wild Child of Aveyron report by Jean Itard (1801). The Wild Child of Aveyron report (Jean Itard) — culture for François Truffaut
• Zéro de conduite by Jean Vigo (1933). Zéro de conduite (Jean Vigo) — ghost for François Truffaut

Peers and kindred spirits

• Jean-Luc Godard (1930). Truffaut and Godard worked closely early in their directing careers. (also via The 400 Blows, Jules and Jim, Breathless) “Godard and Truffaut’s briefly shared style (regularly misattributed to the New Wave as a whole) was one response to an unprecedented conjunction of inspirations and opportunities.” (Monthly Film Bulletin)
• Henri-Pierre Roché. Thomson identifies Roché as a fruitful collaborator of Truffaut’s. (also via Jules et Jim) “En 1966, le réalisateur de la Nouvelle Vague évoquait le roman éponyme de Henri-Pierre Roché, publié en 1953, qu'il avait voulu transmettre fidèlement à l'écran.” (INA)
• Jean-Pierre Léaud. Léaud and Truffaut worked together on multiple films. (also via Masculin Féminin) “Faire des films avec Jean-Pierre Léaud, c'est encore un peu faire des films sur l'enfance.” (INA)
• Claude de Givray. The filmography credits Truffaut and de Givray as co-directors of The Army Game. “Réalisateur et scénariste, Claude de Givray a notamment co-signé les scénarios de Baisers volés et Domicile conjugal de François Truffaut” (France Culture)
• Agnès Varda. The 400 Blows (François Truffaut) — peer for Agnès Varda (via The 400 Blows, Cléo from 5 to 7) “The film was immediately praised by Cahiers du Cinéma: André Bazin said, "There is a total freedom to the style, which produces the impression, so rare in the cinema, that we are in the presence of a work that obeys only the dreams and d…” (en.wikipedia.org)
• Le Beau Serge by Claude Chabrol (1958). Le Beau Serge (Claude Chabrol) — peer for François Truffaut “The 400 Blows marked the beginning of the French New Wave movement, led by such directors as Jean-Luc Godard, Claude Chabrol and Jacques Rivette.” (en.wikipedia.org)
• Cléo from 5 to 7 by Agnès Varda (1962). Cléo from 5 to 7 (Agnès Varda) — geography for François Truffaut “The film was immediately praised by Cahiers du Cinéma: André Bazin said, "There is a total freedom to the style, which produces the impression, so rare in the cinema, that we are in the presence of a work that obeys only the dreams and d…” (en.wikipedia.org)
• Cahiers du cinéma. Truffaut worked as a critic and editor for the magazine. “Truffaut became a critic (and later editor) at Cahiers” (Wikipedia)
• My Night at Maud's by Éric Rohmer (1969). My Night at Maud's (Éric Rohmer) — peer for François Truffaut “He edited the influential film journal Cahiers du cinéma from 1957 to 1963, while most of his colleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from critics to filmmakers and gaining international att…” (en.wikipedia.org)
• French New Wave. Truffaut is identified as a founder of the movement. “Widely regarded as one of the founders of the French New Wave” (Wikipedia)
• Paris nous appartient by Jacques Rivette (1961). Paris nous appartient (Jacques Rivette) — geography for François Truffaut “The 400 Blows marked the beginning of the French New Wave movement, led by such directors as Jean-Luc Godard, Claude Chabrol and Jacques Rivette.” (en.wikipedia.org)
• Lola by Jacques Demy (1961). Lola (Jacques Demy) — geography for François Truffaut “He appeared at the height of the French New Wave alongside contemporaries like Jean-Luc Godard and François Truffaut.” (en.wikipedia.org)
• Breathless by Jean-Luc Godard. Breathless (Jean-Luc Godard) — peer for François Truffaut “Truffaut contributed to another significant milestone of the movement with his work on Breathless (1960), a film directed by his Cahiers colleague Jean-Luc Godard.” (en.wikipedia.org)
• Contempt by Georges Delerue (1963). Contempt (Georges Delerue) — collaborator for François Truffaut “His career was diverse and he composed frequently for major art house directors, most often François Truffaut (including Jules and Jim), but also for Jean-Luc Godard's film Contempt (Le Mépris), and for Alain Resnais, Louis Malle, and Be…” (en.wikipedia.org)
• Days of Heaven. Days of Heaven (Néstor Almendros) — collaborator for François Truffaut “He was one of the most highly appraised contemporary cinematographers, having a working collaboration with filmmakers François Truffaut, Éric Rohmer and Robert Benton, while winning an Oscar for Best Cinematography for Terrence Malick's …” (en.wikipedia.org)
• Masculin Féminin by Jean-Pierre Léaud (1966). Masculin Féminin (Jean-Pierre Léaud) — collaborator for François Truffaut “The 400 Blows (1959), starring Jean-Pierre Léaud as Truffaut's alter ego Antoine Doinel, was a defining film of the New Wave.” (en.wikipedia.org)

Who François Truffaut influenced

• Arthur Penn (1922). Jules and Jim (François Truffaut) — titan for Arthur Penn (via Jules and Jim, Bonnie and Clyde) “Although he was interested enough to help in script development, Truffaut ultimately declined, but not before interesting Godard and American actor and would-be producer Warren Beatty, who proceeded with the film with director Arthur Penn.” (en.wikipedia.org)
• Boyhood by Richard Linklater (2014). Boyhood (Richard Linklater) — legacy for François Truffaut “He was also influenced by Robert Bresson, Yasujirō Ozu, Rainer Werner Fassbinder, Éric Rohmer, François Truffaut, Josef Von Sternberg, and Carl Theodor Dreyer.” (en.wikipedia.org)
• Frances Ha by Noah Baumbach (2012). Frances Ha (Noah Baumbach) — legacy for François Truffaut “CBS News compared Frances Ha's style to the works of Woody Allen, Jim Jarmusch and François Truffaut.” (en.wikipedia.org)
• Paul Thomas Anderson. The article says Anderson cited Truffaut as an influence. “He has cited Robert Altman , Martin Brest , Jonathan Demme , Robert Downey Sr. , Alfred Hitchcock , John Huston , Alex Cox , Stanley Kubrick , Akira Kurosawa , Mike Leigh , David Mamet , Anthony Mann , Max Ophüls , Martin Scorsese , Stev…” (Wikipedia)
• Rushmore by Wes Anderson (1998). Rushmore (Wes Anderson) — legacy for François Truffaut “== Style and directing techniques == Anderson's cinematic influences include Pedro Almodóvar, Satyajit Ray, Hal Ashby, Orson Welles, Jean Renoir, Ingmar Bergman, Martin Scorsese, Federico Fellini, François Truffaut, Claude Sautet, Stanle…” (en.wikipedia.org)
• Face. The article identifies an homage to Truffaut’s work in the film. “homages to his work have appeared in films such as Almost Famous , Face and The Diving Bell and the Butterfly” (Wikipedia)
• The Diving Bell and the Butterfly. The article identifies an homage to Truffaut’s work in the film. “homages to his work have appeared in films such as Almost Famous , Face and The Diving Bell and the Butterfly” (Wikipedia)
• Kafka on the Shore. The article identifies an homage to Truffaut’s work in Murakami’s novel. “homages to his work have appeared in films such as Almost Famous , Face and The Diving Bell and the Butterfly and in Haruki Murakami 's novel Kafka on the Shore .” (Wikipedia)
• Almost Famous by Cameron Crowe. The article identifies an homage to Truffaut’s work in the film. “homages to his work have appeared in films such as Almost Famous , Face and The Diving Bell and the Butterfly” (Wikipedia)
• Bernard Herrmann. Bernard Herrmann, composer for The Twilight Zone, also scored François Truffaut's film Fahrenheit 451, connecting his TV and film work. (via Fahrenheit 451) “a new recording of his score for François Truffaut 's Fahrenheit 451 performed by the Moscow Symphony Orchestra” (Wikipedia)
• George Lucas (1944). The article identifies Jules et Jim among the films Lucas encountered while exploring cinema. (via Jules et Jim) “Lucas and childhood friend John Plummer also saw classic European films of the time, including Jean-Luc Godard 's Breathless , François Truffaut 's Jules et Jim and Federico Fellini 's 8½ .” (Wikipedia)
• Two English Girls. The film is described as a female reflection of the earlier film’s love story. (via Jules and Jim) “Two English Girls (1971), a story of " Proust and the Brontë sisters " [ 6 ] is the female reflection of the love story in "Jules et Jim".” (Wikipedia)
• Walter Murch. Murch describes the film’s ending as formative for him. (via The 400 Blows) “film editor Walter Murch mentions the influence Truffaut had on him as a young man, saying he was "electrified" by the freeze-frame at the end of The 400 Blows” (Wikipedia)
• Bonnie and Clyde by Arthur Penn. Thomson says the style of Jules and Jim influenced Bonnie and Clyde’s writers. (via Jules and Jim) “Thomson writes that "The speed of farce chasing pathos was very influential, not least on the writers of Bonnie and Clyde .” (Wikipedia)