DESCRIPTION :  Here for sale is an EXCEPTIONALY RARE and ORIGINAL illustrated POSTER for the ISRAEL premiere release in 1976 of the FRANCOIS TRUFFAUT acclaimed film " SMALL CHANGE " ( Also " POCKET MONEY " or " L'ARGENT DE POCHE "         " דמי כיס " in Hebrew) in ISRAEL.  Featuring an unforgotten scene from the film  . This is an original Israeli Hebrew design , Specificaly made for the Israeli Theatre halls.  Text in HEBREW and FRENCH . Size around 27" x 19" . Printed in vivid colors . The poster is used but in quite good condition. With imperfections such as tiny creases, stains and mended tears. Should be very attractive framed behind glass ( Please watch the scan for a reliable AS IS scan )Poster will be sent rolled in a special protective rigid sealed tube. 

AUTHENTICITY : The POSTER is fully guaranteed ORIGINAL from 1976 , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal & All credit cards.

SHIPPMENT : SHIPP worldwide via registered airmail is $ 29 . Poster will be sent rolled in a special protective rigid sealed tube.  Will be sent around 5-10 days after payment . 

 François Roland Truffaut (UK: /ˈtruːfoʊ, ˈtrʊfoʊ/ TROO-foh, TRUUF-oh,[1][2] US: /truːˈfoʊ/ troo-FOH;[2][3][4] French: [fʁɑ̃swa ʁɔlɑ̃ tʁyfo]; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic. He is widely regarded as one of the founders of the French New Wave.[5] In a career lasting over a quarter of a century, he remains an icon of the French film industry, having worked on over 25 films. Truffaut's film The 400 Blows is a defining film of the French New Wave movement, and has four sequels, Antoine et Colette, Stolen Kisses, Bed and Board, and Love on the Run, between 1958 and 1979. Truffaut's 1973 film Day for Night earned him critical acclaim and several accolades, including the BAFTA Award for Best Film and the Academy Award for Best Foreign Language Film. His other notable films include Shoot the Piano Player (1960), Jules and Jim (1961), The Soft Skin (1964), The Wild Child (1970), Two English Girls (1971), The Last Metro (1980), and The Woman Next Door (1981). Contents 1 Early life 2 Career 2.1 André Bazin 2.2 Cahiers du Cinema 2.3 Short films 2.4 The 400 Blows 2.5 Shoot the Piano Player 2.6 Jules and Jim and The Soft Skin 2.7 Fahrenheit 451 2.8 Thrillers and Stolen Kisses 2.9 Doinel marries Christine 2.10 Day for Night 2.11 The late 70s and the last Doinel 2.12 The Last Metro 2.13 Final films 3 Attitude towards other filmmakers 4 Personal life 5 Death 6 Filmography 6.1 Director 6.1.1 Feature films 6.1.2 Shorts films and collaborations 6.2 Screenwriter only 6.3 Actor 6.4 Producer only 7 Bibliography 8 See also 9 References 10 External links Early life[edit] Truffaut was born in Paris on 6 February 1932. His mother was Janine de Montferrand. His mother's future husband, Roland Truffaut, accepted him as an adopted son and gave him his surname. He was passed around to live with various nannies and his grandmother for a number of years. His grandmother instilled in him her love of books and music. He lived with her until her death, when Truffaut was eight years old. It was only after her death that he lived with his parents.[6] The identity of Truffaut's biological father is unknown, but a private detective agency in 1968 revealed that its inquiry into the matter led to a Roland Levy, a Jewish dentist from Bayonne. Truffaut's mother's family disputed the finding but Truffaut believed and embraced it.[7] Truffaut often stayed with friends and tried to be out of the house as much as possible. He knew Robert Lachenay from childhood, and they were lifelong best friends. Lachenay was the inspiration for the character René Bigey in The 400 Blows and worked as an assistant on some of Truffaut's films. Cinema offered Truffaut the greatest escape from an unsatisfying home life. He was eight years old when he saw his first movie, Abel Gance's Paradis Perdu (Paradise Lost, 1939), beginning his obsession. He frequently skipped school and sneaked into theaters because he lacked the money for admission. After being expelled from several schools, at age 14 he decided to become self-taught. Two of his academic goals were to watch three movies a day and read three books a week.[6][8] Truffaut frequented Henri Langlois's Cinémathèque Française, where he was exposed to countless foreign films, becoming familiar with American cinema and directors such as John Ford, Howard Hawks and Nicholas Ray, as well as those of British director Alfred Hitchcock.[9] Career[edit] André Bazin[edit] After starting his own film club in 1948, Truffaut met André Bazin, who had a great effect on his professional and personal life. Bazin was a critic and the head of another film society at the time. He became a personal friend of Truffaut's and helped him out of various financial and criminal situations during his formative years.[10] Truffaut joined the French Army in 1950, aged 18, but spent the next two years trying to escape. He was arrested for attempting to desert the army and incarcerated in military prison. Bazin used his political contacts to get Truffaut released and set him up with a job at his new film magazine, Cahiers du cinéma. Cahiers du Cinema[edit] Over the next few years, Truffaut became a critic (and later editor) at Cahiers, where he became notorious for his brutal, unforgiving reviews. He was called "The Gravedigger of French Cinema"[11] and was the only French critic not invited to the 1958 Cannes Film Festival. He supported Bazin in developing one of the most influential theories of cinema, the auteur theory.[12] In 1954, Truffaut wrote an article in Cahiers du cinéma, "Une Certaine Tendance du Cinéma Français" ("A Certain Trend of French Cinema"),[8] in which he attacked the state of French films, lambasting certain screenwriters and producers, and listing eight directors he considered incapable of devising the kinds of "vile" and "grotesque" characters and storylines he called characteristic of the mainstream French film industry: Jean Renoir, Robert Bresson, Jean Cocteau, Jacques Becker, Abel Gance, Max Ophuls, Jacques Tati and Roger Leenhardt. The article caused a storm of controversy, and landed Truffaut an offer to write for the nationally circulated, more widely read cultural weekly Arts-Lettres-Spectacles. Truffaut wrote more than 500 film articles for that publication over the next four years. Truffaut later devised the auteur theory, according to which the director was the "author" of his work and great directors such as Renoir or Hitchcock have distinct styles and themes that permeate their films. Although his theory was not widely accepted then, it gained some support in the 1960s from American critic Andrew Sarris. In 1967, Truffaut published his book-length interview of Hitchcock, Hitchcock/Truffaut (New York: Simon and Schuster). Short films[edit] After having been a critic, Truffaut decided to make films. He began with the short film Une Visite (1955) and followed it with Les Mistons (1957). The 400 Blows[edit] After seeing Orson Welles's Touch of Evil at the Expo 58, Truffaut made his feature film directorial debut with The 400 Blows (1959), which received considerable critical and commercial acclaim. He won the Best Director award at the 1959 Cannes Film Festival. The film follows the character of Antoine Doinel through his perilous misadventures in school, an unhappy home life and later reform school. The film is highly autobiographical. Both Truffaut and Doinel were only children of loveless marriages; they both committed petty crimes of theft and truancy from the military. Truffaut cast Jean-Pierre Léaud as Doinel. Léaud was seen as an ordinary boy of 14 who auditioned for the role after seeing a flyer, but interviews after the film's release (one is included on the Criterion DVD of the film) reveal Léaud's natural sophistication and an instinctive understanding of acting for the camera. Léaud and Truffaut collaborated on several films over the years. Their most noteworthy collaboration was the continuation of Doinel's story in a series of films called "The Antoine Doinel Cycle". The primary focus of The 400 Blows is Doinel's life. The film follows him through his troubled adolescence. He is caught in between an unstable parental relationship and an isolated youth. From birth Truffaut was thrown into a troublesome situation. As he was born out of wedlock, his birth had to remain a secret because of the stigma of illegitimacy. He was registered as "a child born to an unknown father" in hospital records and looked after by a nurse for an extended period of time. His mother eventually married and her husband gave François his surname, Truffaut. Although he was legally accepted as a legitimate child, his parents did not accept him. The Truffauts had another child, who died shortly after birth. This experience saddened them greatly and as a result they despised François because of the regret he represented (Knopf 4[specify]). He was an outcast from his earliest years, dismissed as an unwanted child. François was sent to live with his grandparents. When his grandmother died, his parents took him in, much to his mother's dismay. His experiences with his mother were harsh. He recalled being treated badly by her but found comfort in his father's laughter and spirit. François had a very depressing childhood after moving in with his parents. They left him alone when they took vacations. He even recalled being alone during Christmas. Being left alone forced François into independence, often doing various tasks around the house to improve it, such as painting or changing the electric outlets. Sadly, these kind gestures often resulted in catastrophic events, causing him to get scolded by his mother. His father mostly laughed them off. The 400 Blows marked the beginning of the French New Wave movement, which gave directors such as Jean-Luc Godard, Claude Chabrol and Jacques Rivette a wider audience. The New Wave dealt with a self-conscious rejection of traditional cinema structure. This was a topic on which Truffaut had been writing for years. Shoot the Piano Player[edit] Following the success of The 400 Blows, Truffaut featured disjunctive editing and seemingly random voiceovers in his next film, Shoot the Piano Player (1960), starring Charles Aznavour. Truffaut has said that in the middle of filming, he realized that he hated gangsters. But since gangsters were a main part of the story, he toned up the comical aspect of the characters and made the movie more to his liking. Even though Shoot the Piano Player was much appreciated by critics, it performed poorly at the box office. While the film focused on two of the French New Wave's favorite elements, American film noir and themselves, Truffaut never again experimented as heavily. Jules and Jim and The Soft Skin[edit] In 1962, Truffaut directed his third movie, Jules and Jim, a romantic drama starring Jeanne Moreau. The film was very popular and highly influential. In 1963, Truffaut was approached to direct the American film Bonnie and Clyde, with a treatment written by Esquire journalists David Newman and Robert Benton intended to introduce the French New Wave to Hollywood. Although he was interested enough to help in script development, Truffaut ultimately declined, but not before interesting Jean-Luc Godard and American actor and would-be producer Warren Beatty, who proceeded with the film with director Arthur Penn. The fourth movie Truffaut directed was The Soft Skin (1964). It was not acclaimed on its release. Fahrenheit 451[edit] Truffaut's first non-French film was a 1966 adaptation of Ray Bradbury's classic science fiction novel Fahrenheit 451, showcasing Truffaut's love of books. His only English-speaking film, made on location in England, was a great challenge for Truffaut, because he barely spoke English himself. This was also his first film shot in color by cinematographer Nicolas Roeg. The larger-scale production was difficult for Truffaut, who had worked only with small crews and budgets. The shoot was also strained by a conflict with lead actor Oscar Werner, who was unhappy with his character and stormed off set, leaving Truffaut to shoot scenes using a body double shot from behind. The film was a commercial failure, and Truffaut never worked outside France again. The film's cult standing has steadily grown, although some critics remain mixed on it as an adaptation.[13] A 2014 consideration of the film by Charles Silver praises it.[14] Truffaut and Claude Jade at the première of Love on the Run in Luxembourg, April 1979 Thrillers and Stolen Kisses[edit] Truffaut worked on projects with varied subjects. The Bride Wore Black (1968), a brutal tale of revenge, is a stylish homage to the films of Alfred Hitchcock (once again starring Moreau). Stolen Kisses (1968) was a continuation of the Antoine Doinel Cycle starring Claude Jade as Antoine's fiancée and later wife Christine Darbon. During its filming Truffaut fell in love with Jade and was briefly engaged to her. It was a big hit on the international art circuit. A short time later Jade made her Hollywood debut in Hitchcock's Topaz.[15] Mississippi Mermaid (1969), with Catherine Deneuve and Jean-Paul Belmondo, is an identity-bending romantic thriller. The Wild Child (1970) included Truffaut's acting debut in the lead role of 18th-century physician Jean Marc Gaspard Itard. Doinel marries Christine[edit] Bed and Board (1970) was another Antoine Doinel film, also with Jade, now Léaud's on-screen-wife. Two English Girls (1971) is the female reflection of the same love story as "Jules et Jim". It is based on a story by Henri-Pierre Roché, who wrote Jules and Jim, about a man who falls equally in love with two sisters, and their love affair over a period of years. Such a Gorgeous Kid Like Me (1972) was a screwball comedy that was not well received. Day for Night[edit] Day for Night won Truffaut a Best Foreign Film Oscar.[16] The film is probably his most reflective work. It is the story of a film crew trying to finish a film while dealing with the personal and professional problems that accompany making a movie. Truffaut plays the director of the fictional film being made. This film features scenes from his previous films. It is considered his best film since his earliest work. Time Magazine placed it on its list of 100 Best Films of the Century (along with The 400 Blows). In 1975, Truffaut gained more notoriety with The Story of Adèle H.; Isabelle Adjani in the title role earned a nomination for an Academy Award for Best Actress. His 1976 film Small Change was nominated for the Golden Globe Award for Best Foreign Language Film. The late 70s and the last Doinel[edit] The Man Who Loved Women (1977), a romantic drama, was a minor hit. Truffaut also appeared in Steven Spielberg's 1977 Close Encounters of the Third Kind as scientist Claude Lacombe.[17] The Green Room (1978) starred Truffaut in the lead. It was a box-office flop, so he made Love on the Run (1979) starring Léaud and Jade as the final movie of the Doinel Cycle. The Last Metro[edit] One of Truffaut's final films gave him an international revival. The Last Metro (1980) garnered 12 César Award nominations and 10 wins, including Best Director. Final films[edit] Truffaut's last film was shot in black and white, giving his career a sense of having bookends. Confidentially Yours is Truffaut's tribute to his favorite director, Hitchcock. It deals with numerous Hitchcockian themes, such as private guilt versus public innocence, a woman investigating a murder, and anonymous locations. A keen reader, Truffaut adapted many literary works, including two novels by Henri-Pierre Roché, Ray Bradbury's Fahrenheit 451, Henry James's "The Altar of the Dead", filmed as The Green Room, and several American detective novels. Truffaut's other films were from original screenplays, often co-written by the screenwriters Suzanne Schiffman or Jean Gruault. They featured diverse subjects, the sombre The Story of Adèle H. inspired by the life of the daughter of Victor Hugo, with Isabelle Adjani; Day for Night, shot at the Victorine Studios, depicting the ups and downs of filmmaking; and The Last Metro, set during the German occupation of France during World War II, a film rewarded by ten César Awards. Known as a lifelong cinephile, Truffaut once (according to the 1993 documentary film François Truffaut: Stolen Portraits) threw a hitchhiker he had picked up out of his car after learning that the hitchhiker didn't like films. Many filmmakers admire Truffaut, and tributes to his work have appeared in films such as Almost Famous, Face and The Diving Bell and the Butterfly, as well as novelist Haruki Murakami's Kafka on the Shore. Attitude towards other filmmakers[edit] Truffaut expressed his admiration for filmmakers such as Luis Buñuel, Ingmar Bergman, Robert Bresson, Roberto Rossellini, and Alfred Hitchcock. Truffaut wrote Hitchcock/Truffaut, a book about Hitchcock, based on a lengthy series of interviews.[18] On Jean Renoir, he said: "I think Renoir is the only filmmaker who's practically infallible, who has never made a mistake on film. And I think if he never made mistakes, it's because he always found solutions based on simplicity—human solutions. He's one film director who never pretended. He never tried to have a style, and if you know his work—which is very comprehensive, since he dealt with all sorts of subjects—when you get stuck, especially as a young filmmaker, you can think of how Renoir would have handled the situation, and you generally find a solution".[19] In 1973, Jean-Luc Godard accused Truffaut of making a movie that was a "lie" (Day For Night), and Truffaut replied with a 20-page letter in which he accused Godard of being a radical-chic hypocrite, a man who believed everyone to be "equal" in theory only. "The Ursula Andress of militancy—like Brando—a piece of shit on a pedestal." The two never spoke or saw each other again.[20] However, as noted by Serge Toubiana and Antoine de Baecque in their biography of Truffaut, Godard tried to reconcile their friendship later on, and after Truffaut's death wrote the introduction to a collection of his letters and a lengthy tribute in his video-essay film Histoire(s) du cinéma.[21] Personal life[edit] Truffaut was married to Madeleine Morgenstern from 1957 to 1965, and they had two daughters, Laura (born 1959) and Eva (born 1961). Madeleine was the daughter of Ignace Morgenstern, managing director of one of France's largest film distribution companies, and was largely responsible for securing funding for Truffaut's first films. Truffaut was an inveterate womanizer and had affairs with many of his leading ladies, including Marie-France Pisier (Antoine and Colette, Love on the Run), Jeanne Moreau (Jules and Jim, The Bride Wore Black), Françoise Dorléac (The Soft Skin), Julie Christie (Fahrenheit 451), Catherine Deneuve (Mississippi Mermaid, The Last Metro), and Jacqueline Bisset (Day for Night). Truffaut also fell for Isabelle Adjani during the filming of The Story of Adele H. but his advances were rebuffed. In 1968 Truffaut was engaged to actress Claude Jade (Stolen Kisses, Bed and Board, Love on the Run); he and Fanny Ardant (The Woman Next Door, Confidentially Yours) lived together from 1981 to 1984 and had a daughter, Joséphine Truffaut (born 28 September 1983).[6][22] Truffaut was an atheist, but had great respect for the Catholic Church and requested a mass for his funeral.[23][24] Death[edit] Truffaut's grave in Montmartre Cemetery, Paris In July 1983, Truffaut rented France Gall's and Michel Berger's house outside Honfleur, Normandy (composing for Philippe Labro's film Rive droite, rive gauche) when he had his first stroke and was diagnosed with a brain tumor.[25] He was expected to attend his friend Miloš Forman's Amadeus premiere[26] when he died on 21 October 1984, aged 52, at the American Hospital in Neuilly-sur-Seine in France.[27] At the time of his death, he had numerous films in preparation. He had intended to make 30 films and then retire to write books for the remainder of his life. He was five films short of that aim. He is buried in Montmartre Cemetery.[28] Filmography[edit] Director[edit] Feature films[edit] Year English Title Original title Notes 1959 The 400 Blows Les Quatre Cents Coups Antoine Doinel series Cannes Film Festival – Best Director Nominated – Academy Award for Best Original Screenplay[29] Nominated – Cannes Film Festival – Palme d’Or 1960 Shoot the Piano Player Tirez sur le pianiste 1962 Jules and Jim Jules et Jim Mar del Plata International Film Festival – Best Director Nominated – Mar del Plata International Film Festival – Best Film 1964 The Soft Skin La Peau douce Nominated – Cannes Film Festival – Palme d’Or 1966 Fahrenheit 451 Fahrenheit 451 Filmed in English Nominated – Venice Film Festival – Golden Lion 1968 The Bride Wore Black La Mariée était en noir 1968 Stolen Kisses Baisers volés Antoine Doinel series Nominated – Academy Award for Best Foreign Language Film[30] 1969 Mississippi Mermaid La sirène du Mississippi 1970 The Wild Child L'Enfant sauvage 1970 Bed and Board Domicile conjugal Antoine Doinel series 1971 Two English Girls Les Deux anglaises et le continent 1972 Such a Gorgeous Kid Like Me Une belle fille comme moi 1973 Day for Night La Nuit américaine Academy Award for Best Foreign Language Film[16] BAFTA Award for Best Film BAFTA Award for Best Direction Nominated – Academy Award for Best Director Nominated – Academy Award for Best Original Screenplay[16] 1975 The Story of Adèle H. L'Histoire d'Adèle H. Nominated – César Award for Best Director 1976 Small Change L'Argent de poche Nominated – Berlin International Film Festival – Golden Bear[31] 1977 The Man Who Loved Women L'Homme qui aimait les femmes Nominated – Berlin International Film Festival – Golden Bear[32] 1978 The Green Room La Chambre verte 1979 Love on the Run L'Amour en fuite Antoine Doinel series Nominated – Berlin International Film Festival – Golden Bear[33] 1980 The Last Metro Le Dernier métro César Award for Best Film César Award for Best Director César Award for Best Writing Nominated – Academy Award for Best Foreign Language Film[34] 1981 The Woman Next Door La Femme d'à côté 1983 Confidentially Yours Vivement dimanche! Nominated – César Award for Best Director Shorts films and collaborations[edit] Year Title Original title Notes 1955 A Visit Une Visite 1957 The Mischief Makers Les Mistons 1958 A Story of Water Une Histoire d'eau Co-directed with Jean-Luc Godard 1961 The Army Game "Tire-au-flanc 62" Directed by Claude de Givray; Truffaut credited as co-director 1962 Antoine and Colette Antoine et Colette Antoine Doinel series, segment from Love at Twenty Screenwriter only[edit] Year Title Original title Notes 1960 Breathless À bout de souffle Directed by Jean-Luc Godard 1988 The Little Thief La Petite voleuse Directed by Claude Miller 1995 Belle Époque (miniseries) [Wikidata] Belle Époque Miniseries, with Jean Gruault; directed by Gavin Millar Actor[edit] Year Title Role Notes 1956 Le Coup du berger Party guest Uncredited, Directed by Jacques Rivette 1956 La sonate à Kreutzer 1959 The 400 Blows Man in Funfair Uncredited 1963 À tout prendre Himself Uncredited 1964 The Soft Skin Le pompiste Voice, Uncredited 1970 The Wild Child Dr. Jean Itard Lead role 1970 Bed & Board Newspaper vendor Voice, Uncredited 1971 Two English Girls Récitant / Narrator Voice, Uncredited 1972 Such a Gorgeous Kid Like Me Un journaliste Voice, Uncredited 1973 Day for Night Ferrand, the film director Lead role 1975 The Story of Adèle H. Officer Uncredited 1976 Small Change Martine's Father Uncredited 1977 The Man Who Loved Women Man at Funeral Uncredited 1977 Close Encounters of the Third Kind Claude Lacombe Directed by Steven Spielberg Nominated – BAFTA Award for Best Actor in a Supporting Role 1978 The Green Room Julien Davenne Lead role 1981 The Woman Next Door Cameo Uncredited Producer only[edit] Year Title Original title Notes 1958 Good Anna Anna your mam Directed by Harry Kümel 1960 Testament of Orpheus Le testament d'Orphée Directed by Jean Cocteau 1961 The Gold Bug Le scarabée d'or Directed by Robert Lachenay 1961 Paris Belongs to Us Paris nous appartient Directed by Jacques Rivette 1968 Naked Childhood L'Enfance Nue Directed by Maurice Pialat ***** Small Change (French: L'Argent de poche) is a 1976 French film directed by François Truffaut about childhood innocence and child abuse. The French title translates as "Pocket Money", but since there was a Paul Newman movie called Pocket Money, Steven Spielberg suggested the title Small Change for the US release.[3] In English-speaking countries outside North America, the film is known as Pocket Money. The film had a total of 1,810,280 admissions in France, making it one of Truffaut's most successful films.[4] Only his films The 400 Blows and The Last Metro were more popular in France.[1] Contents 1 Plot 2 Cast 3 Production 4 Acclaim 4.1 Box office 5 Notes 6 External links Plot[edit] Small Change is a story of the struggles and yearnings of young children in Thiers, France, in the summer of 1976. The main characters are Patrick Desmouceaux, who is motherless and just starts getting interested in women such as his young teacher, and his friend Julien Leclou, who lives in poverty and is physically abused at home. Julien cannot stay awake at school after a night without sleep, and refuses to undress in order to hide his bruises. The film mixes the story of these characters with other more or less innocent childhood experiences and challenges of a number of children. Scenes include life at school, a toddler and a cat perilously playing on an open windowsill but falling down unhurt, a girl causing confusion with a bullhorn in an apartment window, Bruno showing his friends how to chat up girls, a double date at a movie theater, a child telling a dirty joke, a botched haircut, first love and first kisses. In the end, Julien's abuse becomes public and he is taken away from his family. The story ends with the message of one of the teachers about child abuse, injustice, children's rights, hope, love and resilience: 'Of all mankind's injustices, injustice to children is the most despicable! Live isn't always fair, but we can fight for justice. [...] If kids had the right to vote, they would have better schools [...] Life isn't easy. You must steel yourselves to face it. I don't mean 'hard-boiled'. I am talking about endurance and resilience. [...] Time flies. Before long, you will have children of your own. If you love them, they will love you. If they don't feel you love them, they will transfer their love and tenderness to other people. Or to things. That's life! Each of us needs to be loved!'[5] Cast[edit] All young characters were acclaimed child actors at the time of filming: Children Philippe Goldmann - Julien Bruno Staab - Bruno Geory Desmouceaux - Patrick Laurent Devlaeminck - Laurent Sylvie Grezel - Sylvie Pascale Bruchon - Martine Claudio Deluca - Mathieu Franck Deluca - Frank Sebastien Marc - Oscar Richard Golfier - Richard Adults Nicole Félix - Grégory's mother (as Nicole Felix) Chantal Mercier - Chantal Petit, the Schoolteacher Jean-François Stévenin - Jean-François Richet, the Schoolteacher Virginie Thévenet - Lydie Richet Tania Torrens - Nadine Riffle, hairdresser René Barnerias - Monsieur Desmouceaux, Patrick's father Katy Carayon - Sylvie's Mother Jean-Marie Carayon - Police inspector, Sylvie's father Annie Chevaldonne - Nurse Francis Devlaeminck - Monsieur Riffle, hairdresser, Laurent's father Michel Dissart - Monsieur Lomay, constable Michele Heyraud - Madame Deluca Paul Heyraud - Monsieur Deluca Jeanne Lobre - Julien's grandmother (as Jane Lobre) Vincent Touly - Concierge[6] Production[edit] Truffaut had been collecting anecdotes about children since the time of The 400 Blows. Some of the events were autobiographical, like his first kiss. By 1972, the script was only a ten-page synopsis. In the summer of 1974, Truffaut became more serious about the project and started developing it further. He and his co-writer did not create a standard script because he wanted the freedom to improvise. In April 1975, Truffaut did location scouting, settled on the town of Thiers, then started casting. The filming lasted from 17 July until October that same year. The original rough cut was three hours.[2] Acclaim[edit] When released, Small Change amassed critical acclaim. It was nominated for a Golden Globe for Best Foreign Film. Vincent Canby, writing for the New York Times, called Small Change 'an original, a major work in minor keys'[7] and Pauline Kael described it as 'that rarity, a poetic comedy that's really funny'.[8] Roger Ebert named it his favorite of the year, calling it a 'magical film' and singled out the window-sill scene as 'Truffaut at his best'.[9] Leonard Maltin gave the movie four stars (out of four) and called it 'wise, witty and perceptive'.[10] Small Change was also entered into the 26th Berlin International Film Festival.[11] It was nominated for Best Foreign Language Film by the US National Board of Review.[12] Box office[edit] Small Change was popular at the box office, in France, the US, Germany, Scandinavia and Japan.[2] It was the 17th most popular film of the year in France.[13] **** François Truffaut, (born February 6, 1932, Paris, France—died October 21, 1984, Neuilly-sur-Seine, near Paris), French film critic, director, and producer whose attacks on established filmmaking techniques both paved the way for and pioneered the movement known as the Nouvelle Vague (New Wave). BRITANNICA QUIZ Film Buff In which Vietnam War film does a character say, "I love the smell of napalm in the morning"? Early Works Truffaut was born into a working-class home. His own troubled childhood provided the inspiration for Les Quatre Cents Coups (1959; The 400 Blows), a semiautobiographical study of a working-class delinquent. It is the first of the Antoine Doinel series, tracing its hero’s evolution from an antisocial anguish to a happy and settled domesticity. When it won the best direction prize at the 1959 Cannes film festival, Truffaut was established as a leader of the French cinema’s New Wave—a term for the simultaneous presentation of first feature films by a number of French directors—a tendency that profoundly influenced the rising generation of filmmakers around the world. scene from Les Quatre Cents Coups Jean-Pierre Léaud (centre) in Les Quatre Cents Coups (1959; The 400 Blows), directed by François Truffaut. Courtesy of Janus Films, Inc.; photograph, from the Museum of Modern Art/Film Stills Archive, New York City The New Wave marked a reaction against the commercial production system: the well-constructed plot, the limitations of a merely craftsmanlike approach, and the French tradition of quality with its heavy reliance on literary sources. Its aesthetic theory required every detail of a film’s style to reflect its director’s sensibility as intimately as a novelist’s prose style retraces the workings in depth of his mind—hence the term le camera-stylo (“camera-pen”). The emphasis lay on visual nuance, for, in keeping with a general denigration of the preconceived and the literary, the script was often treated less as a ground plan for a dramatic structure than as merely a theme for improvisation. Improvised scenes were filmed, deploying the visual flexibility of newly developed television equipment (e.g., the handheld camera) and techniques (e.g., extensive postsynchronization of dialogue). The minimization of costs encouraged producers to gamble on unknown talents, and the simplicity of means gave the director close control over every aspect of the creative process, hence Truffaut’s term auteur, or film author. 00:00 02:17 Outside his art, Truffaut was reticent about his private life, although it is known that he left school at age 14 and worked in a factory before being sent to a reformatory. His interest in the cinema, however, brought him to the attention of critic André Bazin, doyen of the monthly avant-garde film magazine Cahiers du cinéma. After Truffaut enlisted in the military and then was imprisoned for attempting to desert, Bazin helped him secure a discharge and incorporated him into the magazine’s staff. For eight years Truffaut asserted himself as the most truculent critic of the contemporary French cinema, which he considered stale and conventional, and advocated a cinema that would allow the director to write dialogue, invent stories, and, in general, produce a film as an artistic whole in his own style. Thus, he was influential in the cinema world before he actually made a film. Like his leading character in Baisers volés (1968; Stolen Kisses), another film in the Doinel series, he was expelled from his military service. Again, like Doinel in Domicile conjugale (1970; Bed & Board), he married and became a father. Jean-Pierre Léaud and Claude Jade in Baisers volés Jean-Pierre Léaud and Claude Jade in Baisers volés (1968; Stolen Kisses). © Les Films du Carrosse; photograph from a private collection Get exclusive access to content from our 1768 First Edition with your subscription. Subscribe today Truffaut’s initial creative effort, the short piece Les Mistons (1958; The Mischief Makers), depicted a gang of boys who thoughtlessly persecute two young lovers. It met with sufficient appreciation to facilitate his first feature-length film, Les Quatre Cents Coups. An evocation of the adolescent’s pursuit of independence from a staid adult world of conformity and protocol, for which Truffaut evinced a romantic sympathy, the film proved to be one of the most popular New Wave films, especially in England and the United States, where he received an Academy Award nomination for best screenplay. Two tenderly pessimistic studies in sexual tragedy followed—Tirez sur le pianiste (1960; Shoot the Piano Player), adapted from a 1956 American crime novel (Down There by David Goodis), a genre for which Truffaut displayed great admiration, and Jules et Jim (1962). During this time he also made a second short, Une Histoire d’eau (1961; A Story of Water), a slapstick comedy for which Jean-Luc Godard developed the conclusion. Oskar Werner and Jeanne Moreau in Jules et Jim Oskar Werner and Jeanne Moreau in Jules et Jim (1962). © 1960 Paramount Pictures, all rights reserved François Truffaut QUICK FACTS View Media Page BORN February 6, 1932 Paris, France DIED October 21, 1984 (aged 52) Neuilly-sur-Seine, France NOTABLE WORKS “Fahrenheit 451” “The 400 Blows” “Jules and Jim” “Shoot the Piano Player” “Day for Night” “A Story of Water” “Bed and Board” “The Last Metro” “Two English Girls” “Stolen Kisses” MOVEMENT / STYLE New Wave Later Works After this burst of creativity, he seemed to have a period of hesitation. All of his later works, however, were intensely personal and explored one of two themes: studies in forlorn childhoods—e.g., the Doinel saga and L’Enfant sauvage (1970; The Wild Child), the chronicle of an 18th-century doctor who attempts to domesticate an uncivilized child—and sensitive melodramas sadly celebrating disastrous confrontations between shy heroes and boldly emancipated or possessive women. The first theme shows the influence of filmmaker Jean Vigo, in its uncompromising stance against authority of any kind, and of Jean Renoir, in its feeling for place and atmosphere and its mingling of the nostalgic with sudden outbursts of blatant humour, as well as of Truffaut’s personal experience. The second owes much to the American roman noir, or “black novel,” the diverse manifestations of which, from the morally disintegrated heroes of William Faulkner to the sadistic gangsters of Mickey Spillane, have fascinated French novelists from Jean-Paul Sartre to the present. A certain hero worship, also, is discernible in Truffaut’s long published conversations with the veteran British American filmmaker Alfred Hitchcock (Hitchcock, rev. ed. 1984), whose work he admired in complete defiance of his earlier theories. Of Truffaut’s features, only Fahrenheit 451 (1966), a film version of Ray Bradbury’s science-fiction novel, falls outside these categories, though it relates to the American style and the poetic-melodramatic form. Through his production company, Les Films du Carrosse, Truffaut coproduced, among other films, Godard’s first feature and Jean Cocteau’s last. His own later films included La Nuit américaine (1973; Day for Night), for which both his direction and screenplay received Oscar nominations; Le Dernier Métro (1980; The Last Metro); and Vivement dimanche (1983; Confidentially Yours). Cyril Cusack and Oskar Werner in Fahrenheit 451 Oskar Werner (right) and Cyril Cusack in Fahrenheit 451 (1966), directed by François Truffaut. © 1966 Universal Pictures Company, Inc. scene from Le Dernier Métro Catherine Deneuve (left) and Gérard Depardieu in Le Dernier Métro (1980; The Last Metro). KPA/Heritage-Images/Imagestate For Truffaut the cinema had to be, on the one hand, personal and, on the other, a splendid spectacle. The style of his first three films, at once delicate, lyrical, and exceptionally fertile in cinematographic invention, has become, partly by choice, more prosaic and conventional. Controversy has centred on the extent to which his films involve a militant conservatism—whether, for example, Truffaut in L’Enfant sauvage deplores, documents, feels nostalgic for, or positively and without reservation approves the narrow, strict rigidities with which its psychologist (played by Truffaut himself) sets about civilizing the abandoned autistic child. It may be that Truffaut’s earlier inspiration was rooted in the nostalgias and despairs of his childhood, and as with success he matured into adult and father, so his films lost in lyricism while maintaining their fidelity to life’s prosaic side. But life’s grayness and flatness were recorded with a sense of resignation and quiet achievement quite distinct from platitude or petulant nihilism. Two autobiographical books, Les Films de ma vie (1975; The Films of My Life) and Truffaut par Truffaut (1985; Truffaut by Truffaut), shed further light on Truffaut’s philosophy and modus operandi. **** Small Change Roger Ebert January 01, 1976 Powered by JustWatch There's a moment in Francois Truffaut's "Small Change" that remembers childhood so well we don't know whether to laugh or ache. It takes place in a classroom a few minutes before the bell at the end of the school day. The class cutup is called on. He doesn't have the answer (he never does), but as he stands up his eyes stray to a large clock outside the window. The hand stands at 28 minutes past the hour. Click: 29 minutes. He stalls, he grins, the teacher repeats the question. Click: 30 minutes, and the class bell rings. The kid breaks out in a triumphant grin as he joins the stampede from the room. This moment, like so many in Truffaut's magical film, has to be seen to be appreciated. He recreates childhood, and yet he sees it objectively, too: He remembers not only the funny moments but the painful ones. The agony of a first crush. The ordeal of being the only kid in class so poor he has to wear the same sweater every day. The painful earnestness that goes into the recitation of a dirty joke that neither the teller nor the listeners quite understand. Truffaut has been over some of this ground before. His first feature, "The 400 Blows," told the painful story of a Paris adolescent caught between his warring parents and his own better nature. In "Small Change" he returns to similar material in a sunnier mood. He tells the stories of several kids in a French provincial town, and of their parents and teachers. His method is episodic; only gradually do we begin to recognize faces, to pick the central characters out from the rest. He correctly remembers that childhood itself is episodic: Each day seems separate from any other, each new experience is sharply etched, and important discoveries and revelations become great events surrounded by a void. It's the accumulation of all those separate moments that create, at last, a person. "Children exist in a state of grace," he has a character say at one point. "They pass untouched through dangers that would destroy an adult." There are several such hazards in "Small Change." The most audacious - Truffaut at his best - involves a 2-year-old child, a kitten, and an open window on the 10th floor. Truffaut milks this situation almost shamelessly before finally giving us the happiest of denouements. And he exhibits at the same time his mastery of film; the scene is timed and played to exist exactly at the border between comedy and tragedy, and from one moment to the next we don't know how we should feel. He's got the audience in his hand. That's true, too, in a scene involving a little girl who has been made to stay at home as a punishment. She takes her father's battery-powered megaphone and announces indignantly to the neighbors around the courtyard that she is hungry, that her parents have gone out to a restaurant without her, and that she has been abandoned. The neighbors lower her food in a basket: Chicken and fruit but not, after all, a bottle of red wine one of the neighbor kids wanted to put in. In the midst of these comic episodes, a more serious story is developed. It's about the kid who lives in a shack outside of town. He's abused by his parents, he lives by his wits, he steals to eat. His mistreatment is finally found out by his teachers, and leads to a concluding speech by one of them that's probably unnecessary but expresses Truffaut's thinking all the same: "If kids had the vote," the teacher declares, "the world would be a better and a safer place." I don't know; I think it's at least likely that a lot of kids would vote for war because it looks like so much fun on television. But Truffaut has his hopes, and "Small Change" is one of the year's most intensely, warmly, human films. In that it joins so much of Truffaut's earlier work: What other contemporary filmmaker is so firmly in touch with the personal rhythms of life? ****  SMALL CHANGE Wednesday, November 25, 2009 - Monday, December 14, 2009 New 35mm print! Too long absent from the big screen, SMALL CHANGE is one of Truffaut’s most poetic and personal films, a radiant celebration of the world of childhood. Through a series of loosely connected vignettes in a small city in southern France, a group of children, from infants to adolescents, experience the joys and trials of being young. “Children exist in a state of grace,” as a young mother observes. “They pass untouched through dangers that would destroy an adult.” “A comedy, a romance, a mystery — in a word: childhood — captured, distilled, and transformed effortlessly from sketchbook to symphony in the hands of a master named Francois Truffaut.” – Wes Anderson “[A] rarity — a poetic comedy that’s really funny. Truffaut’s deadpan, disjointed style is quicker and surer than ever before.” – Pauline Kael “An original, a major work in minor keys. It’s a labor of love that ignores precedent with splendid verve and a film with so many associations to other Truffaut films that watching it is like meeting a previously unknown relative, someone both familiar and utterly new and surprising… has the air of a child’s Saturday afternoon when no special activities have been planned. It ambles through the lives of these children, observing them in school, at home, going to the movies, making do on a Sunday morning when parents sleep late, trying to pawn some textbooks, making painful and hilarious discoveries that, by the time we reach the end, have encompassed most of the ordinary expressions of childhood in ways not possible ion the conventional fiction film.” – Vincent Canby, The New York Times Country France Language French Rating PG Year 1976 Running Time 104 minutes Distributor The Film Desk Website http://www.thefilmdesk.com/ Director Francois Truffaut ****  “From the first bottle to the first kiss”: François Truffaut’s Small Change (1976)  Danica van de Velde  March 2018  CTEQ Annotations on FilmIssue 86 Arguably one of the most enduring images in the cinema of François Truffaut is the freeze frame that concludes his first feature-length film, Les quatre cents coups (The 400 Blows, 1959). Following an escape from the depressing confines of his reform school, the film’s plucky protagonist, Antoine Doinel, runs through the countryside until he reaches the edge of the sea. There is a sense of triumph underlying the panning shot that takes in the vista of the shore, replicating Antoine’s first view of the ocean; however, this fleeting sense of achievement is met with unease when he turns away from the waves towards the film camera. As Antoine meets the gaze of the viewer, the final moment of The 400 Blows is one of resistance and fragility that is imbued with both hope and deep melancholy. The ephemeral state of childhood, which is often viewed through a lens of romanticised nostalgia, receives different treatment by Truffaut who does not shy away from addressing the brutality to which children are subjected and through which they must survive. Truffaut’s exegesis of the adolescent’s attempt to find a place within a closed adult world is further explored in L’argent de poche (Small Change, 1976) – a film that Truffaut claimed traversed the dichotomy of childhood experience: “The dark side and the optimistic side.” 1 Composed of a series of loosely connected vignettes centring on the children in the provincial town of Thiers, the script by Truffaut and his frequent collaborator Suzanne Schiffman takes stories told by friends and random newspaper articles as its raw material, with the simple structuring device of “Unity of place: a small town. Unity of time: two months before vacation.” 2 A testament to Truffaut’s ability to enter the private realms of his characters, the film exists within the microcosm of the children’s daily lives, moving between their school, their homes, the quaint streets of Thiers that is the setting for much mischief making, and the local cinema where the town congregates every Sunday. The furthest the film moves from this community is in the first scene when a young girl named Martine sends a postcard from Bruère-Allichamps in the centre of France to her cousin, Raoul, who lives in Thiers. The sending of the postcard not only marks the start of Small Change, but also frames the structure of the film’s micro-narratives. With a cast of over 200 children between the ages of two weeks to 14 years old, the film’s episodic fragments may at first appear inconsequential; however, they evoke the disjointed structure of childhood recollection that is marked by ellipses, quirky signifiers and sudden shifts in tone. The series of postcard memories that make up Truffaut’s film touch on the first blush of misplaced romantic desire, the construction of an identity in opposition to parental preferences and the shame that is felt at being perceived as marginal or different. Predominantly portrayed through the secret language and rituals of boyhood, Truffaut captures what he refers to as the process of growing up “from the first bottle to the first kiss.” 3 Remaining true to the principles of the auteur theory that he espoused, Small Change shares thematic resonances with Truffaut’s wider body of work and contributes to his explorations of budding masculinity, storytelling and the reconciliation of love and longing, while also subtly referencing Truffaut’s own experiences. Diana Holmes and Robert Ingram note that “aspects of Truffaut’s […] childhood and adolescence enter his films not at the level of narrative detail, but at that of underlying structures and themes, the significance of which goes well beyond the personal.” 4 What Truffaut achieves through the insertion of his own experiences and preoccupations is an intimacy that is unique to his cinema and that is explored on both a thematic and visual level. The film is replete with references to windows – a repeated visual motif in Truffaut’s cinema – that emphasise both observation and perspective and serve as the entrance to the lives of the children; a space from which the film’s adult characters are generally excluded. This division between adolescence and adulthood is humorously underlined in a scene where the English teacher Ms Petit is summoned from her classroom of disinterested students who have failed to bring any life to a reading of Molière’s The Miser. Once she has left the room; however, one of the more confident boys named Bruno begins an impassioned performance of the text that Ms Petit hears through the windows as she walks through the school courtyard below. This exclusion is extended to the viewer when it comes to the impoverished Julien, whose cruel home life is alluded to but only exists off-screen. In such scenes, Truffaut does not exploit his characters’ innocence but approaches it with tender empathy. The old adage that children should be seen and not heard is dismissed in the teacher Mr Richet’s final speech where he, clearly articulating Truffaut’s own beliefs, states, “I want to show that when adults are determined they can improve their lot. But children’s rights are totally ignored. Political parties are not concerned with kids like Julien or you. Do you know why? Because children don’t vote! […] because of my own childhood…I feel kids rate a better deal.” Mr Richet’s advocacy for children’s rights and agency is cleverly embedded in the structuring of Small Change, which is bookended by acts of writing that are delivered via voice-over. Just as Martine’s postcard is narrated at the beginning of the film, the letter that she writes at summer camp gives her the final say on the film’s action. In giving voice to his characters and highlighting their role in determining the narrative, Truffaut suggests that the children themselves are the film’s true auteurs.   Small Change (L’argent de poche, 1976 France 104 minutes) Prod. Co: Les Films du Carrosse and Les Productions Artistes Associés Prod: François Truffaut Dir: François Truffaut Scr: François Truffaut and Suzanne Schiffman Phot: Pierre-William Glenn Ed: Yann Dedet Prod Des: Jean-Pierre Kohut-Svelko Cast: Nicole Félix, Chantal Mercier, Jean-François Stévenin, Virginie Thévenet, Georges Desmouceaux      ebay5191