Francois Truffaut said that his plan with Shoot the PIano Player “was to make a film without a subject, to express all I wanted to say about glory, success, downfall, failure, women and love by means of a detective story” which betrays the fact that he has little idea what the word “subject” means. His debut The 400 Blows was “very French,” and French critics loved it. So of course Truffaut decided to follow it up with something “American” that they would hate, so he made a gangster comedy.
We talk about “frenchness’ and “americaness” as we discuss Shoot the Piano Player on this week’s Lost in Criterion. Listen at LostInCriterion.com or on iTunes, where you could maybe drop a review of us? While you're at it, maybe like us on Facebook? Or consider supporting us through Patreon. We'd appreciate it.