In the last T-Boy article, The Film Soundtracks in Our Lives, Part II – Traveling Boy, we covered the source of many of our favorite musical soundtracks in film. The titles ranged from Alfred Hitchcock & Bernard Herrmann's Psycho to Richard Lester & The Beatles' A Hard Day's Night. In Part II, we discuss the relationship between film director Francoise Truffaut and composer Maurice Jaubert in Le Chambre Verte,L’Histoire d’Adèle, L’Homme qui aimait les femmes and Argent de poche; Jaubert’s first piano prize; banned films during the Nazi occupation of France, saved by Henri Langlois et la Cinémathèque française; Maurice Ravel as Jaubert’s best man at his wedding; and La Nouvelle Vague and the politique des auteurs.

Since the release of Sight & Sound magazine’s 2022 Top 100 Greatest Films of All Time critics poll, some of us agreed, others were appalled; in particular with the absence of masterworks by Luis Buñuel, Ernst Lubitsch and Howard Hawks. But the positive is that it opens pathways for lists by other cineastes which keeps the importance of cinema on the front burner. …

The T-Boy Society of Film & Music’s latest poll is devoted to our 20 favorite films of 1971. Part One in the series focuses on films voted by our members from eleven to twenty. Part Two will feature the final top ten. The genesis of our poll was highly influenced by Christina Newland’s thoughtful piece in BBC Culture, entitled, Why …

In The 400 Blows Truffaut introduced Antoine, a 12-year-old at odds with the world in which he found himself. Antoine lost his girlfriend to an older and more masterful rival in the opening segment of Love at Twenty. Now, after two failures (not only of execution), Truffaut has returned to that character, but Stolen Kisses does not mark a reprise of his most confident style.