Vonia A nicely made love letter to the often chaotic, complicated, drama filled, engaging process of making a film. It should be viewed more as a documentary than an entertaining show, since not that much really happens that holds any meaning. At times, it was even a little boring. It would actually be quite educational to the everyday viewer, revealing a few secrets in the industry. The title, for example, refers to the cinematic techniques used to simulate a night scene while filming in daylight, usually involving filters. I always appreciate it when the director is more than the director. Here, François Truffaut fittingly plays the director. Overall, an interesting if not very captivating film.

manendra-lodhi I want to salute to people who introduced me to this film. After a long time I had the luck to see such a great masterpiece. The film pays tribute to a number of films including the godfather and citizen Kane. Again one of the rare films in which I didn't checked the elapsed time. If you feel bored with cinema, you can watch this film again and again to make sure what films truly have. I felt like in a complete different world while watching each and every aspect of the film. Be it the cinematography, acting, location, script, characters, story progress. It is so good to have films like these with us. Usually I write about the films after some time but for this one I could not help. You mix every possible combination and you will find that in the film."A must watch for everyone."

Claudio Carvalho In Nice, the Studios La Victorine is producing the film "Je Vous Presente Pamela", about a French man that marries the English Pamela in England and brings his wife to France to introduce her to his parents. However, his father and Pamela fall in love with each other and she leaves her husband to live with her father-in-law. The producer Bertrand (Jean Champion) and the director Ferrand (François Truffaut) invite the British Julie Baker (Jacqueline Bisset), who had a nervous breakdown and married her Dr. Nelson (David Markham), to the role of Pamela. Along the shooting, the cast and crew are lodged in the Hotel Atlantic and Bertrand and Ferrand have to deal with problems with the stars Severine (Valentina Cortese), an aging artist with drinking problems that affect her performance; the immature, spoiled and needy Alphonse (Jean-Pierre Léaud); Julie that is emotionally unstable. But in the end, they succeed to complete the film."La Nuit Américaine" is a film about making a film and a great tribute to the cinema. This is one of my favorite Truffaut's films and the last time I saw it was on 08 January 2001. It is impossible to highlight performances in this film, but the mesmerizing beauty of Jacqueline Bisset shines. Jean-Pierre Léaud performs his usual role of an insecure man, using the same gestures of Antoine Doinel.In 1992, Louis Malle explored the storyline of "Je Vous Presente Pamela" in "Damage". My vote is nine.Title (Brazil): "A Noite Americana" ("The American Night")

Ilpo Hirvonen "Truffaut's films are the product of one man alone and that man looks with an equal eye on the problems of the actors, the sound system, the camera. There are no small problems, no great problems. There is only film. For Hindus the world is one; for Truffaut the film is one." (Jean Renoir)La nuit américaine was François Truffaut's 13th film and his most physic film of all. The title refers to a filmmaking technique, we here in Europe call an American night -- an acted night, day which is turned to night, fake. So it would be quite silly for Americans to call it an American night and therefore, they simply call it Day for Night. Day for Night isn't Truffaut's best or his most intelligent film but it is his most perfect film, for its structure. It is a collection of themes that were important for him. It's a synthesis of his production till that day. It is a tribute to filmmaking, or as Truffaut himself puts it: "After making an ode to books it would've been weird not to make a film about film." A film about a film within a film is, at its heart, ridiculously simple. The story about 15 people who have isolated from the rest of the world, who are free to form temporary relationships and who aren't disturbed by the common boundaries of everyday life and work. However, Truffaut has turned this, normally seen as a cliché, into his benefit because the real theme of the film is the transience of emotions. These intense love and friendly relations are extremely painful because they often tend to end so quickly. It is no wonder that Truffaut, as the romantic of the Nouvelle Vague, took this as his most important theme from the topic of filmmaking.As said, Day for Night is a synthesis of Truffaut's production until the year 1973. The presence of Jean-Pierre Léaud as Alphonse, links it to the Antoine Doinel series. But, in this case, Léaud isn't Truffaut's only alter ego because François plays the role of director Ferrand himself. The presence of him, on the other hand, reminds us of The Wild Child (1970), the dreams of childhood memories The 400 Blows (1959), and the complexity of sexual relationships Jules et Jim (1962). But unlike other films about filmmaking (The Man with a Movie Camera, 8½) Day for Night tries to relay an emotion of the practical pleasure which a filmmaker gets from his or her profession and its concrete reality. Already in the beginning, during the opening credits, Truffaut shows us the sound track as concrete whose beauty the viewer can now, finally, observe.Day for Night is all about the holy matrimony of life and art. If life and the world were perfect there would be no art and vice versa. Throughout the film Alphonse continues his research of women, love and cinema -- and eventually ends up asking whether "film is more important than life?" The thesis or more like the basic realization of the film is that film is life and life is film. Film is an imitation of life and life is an imitation of film. If imitation of life can be even greater than life itself which one is the greater? Day for Night includes authentic moments of joy -- how Truffaut actually loves his work -- but also moments of grief, the feeling of loss reflects to the structure and visual substance of the film. To cut a long story short, for its structure, it has got two kinds of scenes: parody-like, cinematic, dramatic scenes and documentary-like realistic scenes which conduct dialog with each other, and get mixed up when we can no longer distinguish film and reality, life and imitation. Day for Night is an ode to film(making) and it portrays a world where fiction and reality have begun to merge.