“History is filled with secret heroes whose behind-the-scenes actions are essential to the exploits of public-facing heroes,” tnyfrontrow writes. “Helen Scott is one of those hidden heroines.”
. The correspondence distills the story of the movement’s early days, its struggles for success, and the hostility that it faced. It also contains a treasure trove of details regarding releases and reviews; the personalities of filmmakers, actors, technicians, and even critics; the practical maneuvering that went into the promotion of movies; and the delicate threads and odd chances on which a movie’s success and a director’s career depend.
Tabouis was prominent and connected, and Scott was pulled into the lofty ambit of Tabouis’s activity . In 1943, Scott was recruited by a Free French official to work for its extensive radio operation in Brazzaville, Congo, then a French colony and a center of the Resistance.
Then, though, the curtain rose on the second act. In 1959, Scott responded to an ad for a bilingual French secretary at the French Film Office, a quasi-governmental agency that promoted French cinema in the United States. She became a publicist there and found an altogether different outlet for her revolutionary spirit. After she read about the rise of a “new wave” of young French directors, Scott, then only a casual moviegoer, got the movement—and the term—prominent attention in the press.
The year before Truffaut was moved to create his own book of interviews with Hitchcock , Scott wanted to create a book of Truffaut’s inspirations, a collection of his own published interviews that would be a work of self-portraiture. With Truffaut’s long-distance tutelage and the flood of New Wave films that Scott was seeing in New York, she was getting a cinematic education, and her learning curve was spectacularly sharp.
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