In the French magazine Cahiers du Cinema in the 1950s, Truffaut had been one of the original proponents of the auteur theory, the notion that the director is the artist of a film. Scott, discussions about film were changing. When Truffaut and Hitchcock sat down for their dayslong conversation in August 1962 at Universal Studios, along with a translator, Helen G. Directed by Kent Jones, the movie draws heavily on Hitchcock clips, the original interview audiotapes, stills taken of the encounter by the photographer Philippe Halsman and interviews with current filmmakers. 2, and takes its name from the informal title of Truffaut’s book, is both a companion piece to the text and an extension of it.
The documentary “ Hitchcock/Truffaut,” which opens Wednesday, Dec.
In The New York Times, Eliot Fremont-Smith called it “one of the most revealing and engrossing books on film art, technique and history ever put together.” And the critic Charles Champlin of The Los Angeles Times offered a suggestion: “It’s one book that would absolutely make a heck of a movie.” “There is not another instance of one practicing director paying homage to another in the entire history of books on cinema,” the critic Andrew Sarris, one of America’s earliest Hitchcock champions, wrote in a review in The Chicago Tribune in January 1968. Culled from six days of interviews that the French director François Truffaut conducted with his idol Alfred Hitchcock, the book “Hitchcock” immediately stood out from other books about movies when it was published in an English translation in 1967.
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