Film: Day for Night

“Shooting a movie is like a stagecoach trip. At first you hope for a nice ride. Then you just hope to reach your destination.”
Ferrand (François Truffaut)

Day for Night, known originally in French as La Nuit Américaine, is a 1973 film by French New Wave director François Truffaut, dealing with the trials and tribulations of making a film named Meet Pamela (Je vous présente Pamela in the original French), about a woman who has an affair with her father-in-law. However, every possible complication manages to appear, putting the film in jeopardy.

For the filming technique, see Hollywood Darkness.

The film provides examples of:

  • Actor Allusion: The in-universe actors apparently have similar careers to the actors who portray them:
    • When Severine cannot remember her lines, she suggests reciting numbers and dubbing her lines in post-production, as she did when working for Federico Fellini. Valentina Cortese, who plays Severine, was in Fellini's Juliet of the Spirits (and likely really did use this technique, as Fellini recorded the sound to his films entirely in post-production, and had his actors count numbers to simulate the dialogue's mouth movements during shooting).
    • The crew members of Meet Pamela mention liking the film Julie made "with the car chase". Jacqueline Bisset, who plays Julie, also appeared in Bullitt, which includes one of cinema's most iconic car chase sequences.
  • Actor Existence Failure: In-universe example: Alexandre dies in a car crash before filming the scene in which he is shot by Alphonse. The scene is shot with a stand-in seen only from behind.
  • The Alcoholic: Severine. Her drinking problem affects the production.
  • Artistic License Film School: Thankfully averted. As Truffaut wrote the screenplay as well as directing and starring in the film, he drew from his experiences working in the film industry to portray the mechanics of how films are made, and the problems that can arise.
  • Art Shift: Ferrand's dreams of when he was a young boy are in B&W.
  • Author Appeal: In one scene, Ferrand opens a box fill with books about directors such as Hitchcock, Rossellini, Bergman, Buñuel, Godard, Dreyer, Bresson and Lubitsch.
  • Author Avatar: Ferrand for Truffaut, whose mother's maiden name was de Montferrand and whose hearing also was impaired by his service in the army. Ferrand's relationship to Alphonse reflects that of Truffaut to Léaud, and Joëlle is a thinly-veiled portrait of Truffaut's collaborator Suzanne Schiffman.
  • Blooper: In-universe. Several takes are wasted by Severine forgetting her lines or missing the right door.
  • The Cameo: Writer Graham Greene plays one of the insurance company representatives.
  • Cool Old Guy: Alexandre. He's seen it all, but without becoming cynical, and always has a friendly word for everyone.
  • Creator Breakdown: In-universe. Severine has one in front of the director, Alphonse and Julie also make scenes.
  • Cue Card: After Severine has had a bit too much to drink before shooting the scene where she confronts Alexandre over his furtive behavior, her lines are written on cue cards pasted on various surfaces around the set.
  • Cute Kitten: For the "morning after" scene following Alexandre and Pamela's tryst at the cheap hotel, a particularly cute kitten is intended to walk up to their discarded breakfast tray and lap from a saucer of milk. Unfortunately, the kitten keeps turning tail and running away from the tray, and eventually the studio's own cat is used for the scene.
  • Dedication: To actresses Lillian and Dorothy Gish (showing a still of the two at the beginning of the film).
  • Deleted Scene: In-universe example. Alexandre's death and the insurance agent's refusal to cover the cost of recasting the role mean that his remaining scenes must be dropped from the shooting schedule, and several sequences which have already been shot but for which his footage has not been filmed are also cut from the finished film.
  • Do You Want to Copulate?: An innocent question by the prop master towards Joelle results in them having sex by the creek.
  • End of an Era: How Ferrand sees the death of Alexandre for film-making as a whole.
  • Everybody Has Lots of Sex: Lots of affairs on the set of Meet Pamela.
  • Film Within A Film: The movie depicts the Troubled Production of the fictional movie Meet Pamela.
  • Foreign Language Title: In-universe. A French language movie gets the English title Meet Pamela.
  • Hide Your Pregnancy: In a scene where Janelle, the woman who is the secretary of the Father-in-law, gets out of a pool to take a letter for him, the crew discover she's just barely pregnant, and by the time she comes back in six weeks for the main part of her scenes, she will be obviously several months pregnant. They have to figure out a way to cover the issue, but they can't simply have her seen as pregnant as it will complicate the story by making the audience think her boss knocked her up.
  • Limited Wardrobe: For reasons that are unclear, the on-screen movie crew never change their clothes even though story unfolds over weeks.
  • Love Triangle: The Film Within A Film, Meet Pamela, tells the tragic story of a love triangle between Alphonse, Pamela, and Alphonse's father.
  • Man Child: Alphonse's emotional immaturity is a serious problem to all around him. He asks Liliane to marry him, and treats her lack of refusal as agreement. He remains oblivious to the subsequent disintegration of their relationship, and when Liliane runs off with Julie's (male) stunt double, he locks himself in his room and threatens to walk off the film. When Julie spends the night with him in a bid to persuade him to finish the film, he misinterprets both her motives and his feelings for her and calls her husband the next morning to ask him to let her go; the ensuing conversation between Julie and her husband causes her to break down and lock herself in her dressing room.
  • May-December Romance:
    • Among the characters of Day for Night, Julie is much younger than her husband, the doctor.
    • In Meet Pamela, Pamela has an affair with her much older father-in-law.
  • Meganekko: Joelle.
  • Muse Abuse: As soon as Julie finishes opening up to Ferrand about her problems, he incorporates her turmoil into the script, word for word. She is not amused.
  • Mythology Gag: To lots of other Truffaut movies:
    • Alphonse and Julie have a conversation by shouting across at each other from open windows, very similar to a famous shot from Jules Et Jim.
    • Jean-Pierre Leaud's work in the Antoine Doinel cycle is constantly slyly hinted at. One of the montages has him peeking over and folding a newspaper, a reference to the private detective scenes in Stolen Kisses. Alphonse, Leaud's character, takes another acting job in which his character will fall in love with a Japanese woman, just like in Bed and Board. Add both of these up and throw in a comment about Alphonse's rough childhood and you've got a very, very subtexty connection to The 400 Blows.
  • Proscenium Reveal: The opening scene is revealed to be a scene being shot for the in-universe movie, when the director shouts "Cut!".
  • "The Reason You Suck" Speech: Liliane gives one to Julie about Alphonse being a Spoiled Brat, Man Child and Drama Queen.
  • Ripped from the Headlines: The plot of the film-with-in-a-film Meet Pamela is based on a real-life case that made headlines shortly Truffaut started working on the script.
  • Romance on the Set: In-Universe, Day for Night is made of this trope. Alphonse bets his girlfriend Liliane as a script-girl so she can be with him during the production, she then falls in love with the stuntman and runs off, heartbroken Alphonse has a fling on the rebound with Julie, while a number of other members of the team also have affairs with each other. Hilariously Lampshaded in the rant by Mme. Lajoie, who is only on the set to watch her husband so he doesn't engage in any hanky-panky.
  • Schedule Slip: In-universe discussed by the crew whenever an actors is not ready to do his/her scene.
  • Serendipity Writes the Plot: In-universe example. Several times does the Troubled Production force the crew to improvise and change the script to adapt to new circumstances on the set.
  • Serious Business: One of the central themes is the fact that for the main characters, the movies they make are more important than life itself.
    • Neatly summed up by one of the female members of the crew when dumbfoundedly talking about Liliane running off the set with the stuntman: "I'd leave a guy to make a movie, but I'd never leave a movie for a guy."
  • Shout-Out: To The Rules Of The Game, the Renoir film which inspired Day for Night, which gets title-dropped and quoted outright.
  • Spoiled Brat: Liliane calls Alphonse this during her "The Reason You Suck" Speech before she takes off with her stuntman.
  • Time-Compression Montage: Half-way through the movie, a longer montage of key scenes from the filming of Meet Pamela is shown to demonstrate how the production moves along smoothly.
  • Title Drop: Two for one! It's in a scene where Ferrand (who only speaks French) speaks to the stunt double (who only speaks English) through Julie. Ferrand drops the term Nuit Américaine, which Julie translates into "Day for Night".
  • Troubled Production: In-universe example. Between a power failure at the processing lab ruining footage of a key scene, Severine's alcoholism, Stacey's previously undisclosed pregnancy, Alphonse's relationship troubles, Julie's delicate emotional state following a nervous breakdown, a tight shooting schedule, and Alexandre dying in a car crash with several key scenes left to film, nothing seems to go as planned for Meet Pamela. Against the odds, filming is completed, but not as originally intended.
  • Unknown Character: After Alexandre dies, the film has to stop production until they find out how the insurance company will cover the accident. The insurance adjuster shows up and explains they can handle the cost of doing only a few days of re-shooting (not enough to replace the actor altogether). What Truffaut didn't know was that the insurance adjuster (who is uncredited in the film) was the famous author Graham Greene. Greene was delighted to have the chance to actually appear in a film with Truffaut, whose work he admired, but Truffaut was disappointed that he didn't find out until later, as he admired Greene's work too.
  • Writing by the Seat of Your Pants: In-universe. We are told that the director writes the script as he goes along and actors get their lines handed to them only shortly before the shoot, which causes discontent among the cast.
  • Written-In Infirmity: In-universe example. One of the actresses failed to mention her pregnancy when signed to the film, and since with time it will become more pronounced, they decide to incorporate it in the movie.