He would put himself in Truffaut’s hands, trusting the youthful film director who, at that point, had made only three features: The 400 Blows, Shoot the Piano Player, Jules and Jim. “Your letter brought me to tears,” Hitch wrote back, and endorsed the project.
In early 1962, François Truffaut wrote to Sir Alfred in the USA proposing a series of in-depth interviews covering all of AH’s films. Another Cahiers critic-turned-filmmaker followed in his Hitchcock worship. The authors, who pushed forth the religious angle, were Claude Chabrol and Eric Rohmer, young Nouvelle Vague filmmakers. In 1958, two film critics for the Paris-based magazine, Cahiers du Cinéma, published the first book from anywhere lauding the master cineaste: Hitchcock: The First Forty-Four Films. He was a zealous, churchgoing Catholic with a view of life on earth as grotesque as that of his religious compatriot, Flannery O’Connor. He was a metaphysical artist whose lurid, pessimistic cinema showed mankind as creepy, perverse, and guilty as hell. Give the French all the credit for unveiling what should have been obvious: that filmmaker Alfred Hitchcock was far more than a chills-and-spills popular entertainer. Alfred Hitchcock entertaining the French director François Truffaut, one of the photos in the documentary “Hitchcock/Truffaut.”
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