| Director: | François Truffaut |
|---|---|
| Production: | Les Films du Carrosse, Sedif
|
| Running Time: | 117' |
| Language: | French |
| Country: | France |
| Year: | 1964 |
| Main Cast: | Jean Desailly, Françoise Dorléac, Nelly Benedett, Daniel Ceccaldi, Laurence Badie
|
| Screenplay: | François Truffaut, Jean-Louis Richard
|
| Cinematographer: | Raoul Coutard |
| Editor: | Claudine Bouché |
| Costume Designer: | Renée Rouzot |
| Music: | Georges Delerue |
| Restoration: | mk2 Films |
| Laboratory: | Hiventy |
|---|---|
| International distribution: | mk2 Films |
A writer, Pierre Lachenay, a family man, falls in love with an air stewardess during a lecture tour. He leaves his wife, lives alone, and visits, in turn, his wife and his mistress. Unable to face up to the situation, putting off the moment of choice, Pierre is killed in a restaurant by his wife just as he was considering returning to married life.
My latest film, La peau douce, has adultery as its subject. I had this idea for the first time two or three years ago, and it was about an image that ultimately didn’t make it into the film. It happens. I had simply thought about the interest there might be in showing, in a taxi, an illicit couple having to separate. I imagined a rather fiery, almost animalistic scene, with a series of kisses where you could hear the sound of teeth clashing. I remember that this idea was the starting point of La peau douce. I told myself that the idea of clandestinity and taxis would go well together, because it gets less interesting if the man is driving; the couple must be in the back seat of a taxi, and the kisses must be very passionate because they have to part ways when all they want is to stay together. Then the sense of clandestinity and the clacking of teeth would have given a certain rawness, a lively feeling of physical love. I thought about this image every now and then and little by little a whole script took shape, and in the end this scene isn’t in the film because we couldn’t introduce a taxi into the action; however, this is the exact origin, in the specific case of La peau douce. François Truffaut (Cinéma, n. 85, 1964)
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