antoine and colette
— colette (1873 1954) is the pen name of the french novelist sidonie gabrielle colette. colette may also refer to: people colette (given name) dj colette (1975) (born colette marino), a chicago, illinois, dj and house musician rocio colette acuña… …
the 400 blows / antoine and colette ~ kino ~ 30. 03. 2016
the 400 blows / antoine and colette ~ kino ~ 30. 03. 2016 - youtube
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francois truffaut' s semi - biographical character antoine doinel, played by jean - pierre leaud, gets totally owned by his girlfriend colette in the last scene of the 1962 short' antoine et colette'. antoine and colette was part of a small collection of films called
l' amour a vignte ans
.
since my adventures of antoine doinel reviews began on a personal note, i' ll keep it going by mentioning i had a similar experience to the one antoine has when he runs into colette in stolen kisses. in the years that have passed, colette has gotten married and had a child. the husband / father is the guy she jilts antoine for at the end of antoine and colette, no less. seeing her this way only serves to irritate antoine, and not just because he' s on a stakeout .
], and an affirmation of the classic cinema that informed a young antoine and inspired his author .
that was it. it was the last communication between either of us. not unlike some of antoine' s angry letters to colette and christine, i might add .
some time after
baisers volés
, antoine doinel (jean - pierre léaud) and christine darbon (claude jade) are married and antoine works dying flowers, and christine is pregnant and gives... see full summary »
as their favorite by a mile, but antoine et colette - - the only short in the bunch - - gets its fair share of love too .
the meaning becomes clear early on when antoine is spied sprinting from the courthouse by his one - time object of affection, colette (co - writer marie - france pisier). he has just finalized his divorce to christine (claude jade), and antoine is running to get to work. the destination is immaterial, however; as colette says, same old antoine, always on the run .
louise, known for her roles in no angels, torchwood, the chatterley affair and waterloo road, will play holby’s new director of nursing, colette sheward. tough - talking, politically incorrect, funny and loyal, colette is unfazed by arrogant doctors and fiercely protective of her team .
stolen kisses joins a bumper crop of truffaut blu - rays on august 25 th. as for antoine et colette, artifical eye marketing boss paul diment tweeted to tell me it’ll appear as an extra on the next antoine doinel film, bed and board .
now aged 17, antoine doinel works in a factory which makes records. at a music concert, he meets a girl his own age, colette, and falls in love with her. later, antoine goes to extraordinary lengths to please his new girlfriend and her parents, but colette still only regards him as a casual friend. first segment of “love at twenty” (1962) .
antoine et colette, which was originally made as an episode in the series l' amour à vingt ans, was a sequel to truffaut' s the 400 blows. in the film, antoine doinel (jean - pierre léaud) works at the philips record store and courts the elusive colette (marie - france pisier). the story of antoine doinel continues on in baisers volés / stolen kisses (1968), bed and board (1970), and love on the run (1979). ~ rovi
) is so like colette, we' d think that truffaut just swapped the girl' s name when he swapped actresses if it wasn' t for the colette cameo midway through the picture. whatever relationship she and antoine had before the army, he has been relegated to the friendship zone, no matter how hard he pushes. antoine doesn' t know what to do .
this is an exciting time for holby city and louise joining the cast as colette sheward only adds to the buzz of what’s coming up in the show. colette’s unquestionable loyalty will lead to some intense showdowns as she stands by her team no matter what the cost. but as the drama unfolds viewers will find out that everyone at holby has an achilles heel – and colette is no exception !
shortly after finishing his great film, jules et jim, françois truffaut went to work on an omnibus project with a short film of his own and other short films by roberto rossellini, shintaro ishihara, marcel ophuls, and andrzej wajda. the film, as an entire project, was evidently a complete failure, and has seldom been shown as a five - star cinema. but truffaut’s own contribution to the larger work, antoine et colette (antoine and colette) was an important development in his career, namely because it represents the second in his ongoing antoine doinel series .
cast: jean - pierre leaud (antonie doinel), marie - france pisier (colette), patrick auffay (rene), rosy varte (colette' s mother), jean - francois adam (albert tazzi) .
truffaut didn’t plan the adventures of antoine doinel, until a short film antoine and colette in love at twenty, where he depicts doinel now as a teenager having his first love and professional experience. truffaut settles more obstacles and psychological crises on the character. antoine lingers on nostalgia, unresolved matters, and thus reflecting this on his lovers and decisions. he has the mind and soul of a child; the child we once saw in the 400 blows. here is a character who persists on personifying the end of childhood and truffaut’s adulthood and his more joyful years. the character antoine is part of truffaut, but not entirely; a part of lead, but not wholly, it’s a piece of you, me, and everybody .
it is, instead, a series of sequences in which everyone takes stock - - the now serenely self - aware christine, the beautiful, sensitive, funny colette, as well as the perplexed antoine. they take stock in great swatches of flashbacks lifted from
the 400 blows
( black - and - white) ,
colette
( sepia), and
stolen kisses
and
bed and board
( both in color) .
peron, didier, and antoine de baecque. “leaud, retour à doinel. ” libération 31 august 2001 .
that same evening antoine runs into colette, again played by marie - france pisier, who is now a lawyer and still a woman with a mind of her own, which is to say that she has antoine & apos; s number. by one of those coincidences that tie such comedies together, colette & apos; s lover, a librarian, turns out to be the brother of antoine & apos; s sabine, which leads to a certain amount of misunderstanding of no real importance .
after
the 400 blows ,
which introduced antoine as the 13 - year - old juvenile delinquent, there were the
colette
sequence from
love at 20
( 1963), in which antoine courted the spirited marie - france pisier but won only the affection of her parents ;
stolen kisses
( 1969), in which antoine, discharged without honor from the army, pursued the music student, christine (claude jade); and
bed and board
( 1971), in which the marriage of antoine and christine fell apart as the self - interested antoine sought a literary career and extra - marital affairs .
louise delamere said: “it' s great to be joining holby city as part of the team. colette is a surprising and funny character and i look forward to starting my ward rounds! ”
. his move, if nothing else, brings him even closer to colette’s parents, who now invite him over regularly for dinners; but his shift of living conditions does little to assure him of colette’s love. and by the brief film’s end, he finds himself sharing a bowl of tangerines with the old folks, while an older boy stops by to collect colette for a date. antoine may have gained a new set of parents, but he has lost the object of his love. obviously, he is seen by colette, as she describes him in the last of the doinel series ,
is deceptively simple and was largely improvised by truffaut and his cast. when we first meet our main character, antoine (jean - pierre leaud), he works as a stock room boy in a record publishing firm in paris and lives in a furnished room in place clichy. one day while attending a berlioz music program he is instantly smitten by a beautiful young woman in the audience. he begins to notice her at other concerts he attends and eventually works up the nerve to speak to her. a friendship develops between them; they have coffee together, exchange favorite books and records, but all the while antoine is harboring a secret love for colette. antoine' s infatuation spurs him to relocate to an apartment directly across the street from colette' s home where he can more carefully monitor her activities. even though he befriends her parents and insinuates himself into their household as if he were a member of the family, his possessiveness towards colette ends up driving her away from him. in the final scene, a gentleman caller arrives to take colette to the cinema, leaving antoine to watch television with colette' s parents .
this short film is the first segment of five in the multinational feature love at twenty (1962), all five segments on the theme of first adult love. after indulging in much delinquency in his youth, seventeen year old antoine doinel, having been provided opportunity to get out of that delinquent life, is now an upstanding member of society working for philips records, which allows him to indulge in his love of music. at the youth concerts, he has noticed the same young woman at several performances, she who he would like to get to know. she is colette, the two who do begin to date. colette treats antoine like a buddy, while antoine has fallen in love with her. his pursuit of getting colette to be his exclusive girlfriend is helped on the surface in the fact that colette' s parents like him and encourage their dating. he uses grand romantic gestures to try and prove his love. will colette ultimately fall under antoine' s romanticism ?
antoine doinel. he' s got four ladies... nine lives... and plenty of alibis !
oliver kent, executive producer, holby city, said: “this is an exciting time for holby city and louise joining the cast as colette sheward only adds to the buzz of what’s coming up in the show. colette’s unquestionable loyalty will lead to some intense showdowns as she stands by her team no matter what the cost. but as the drama unfolds viewers will find out that everyone at holby has an achilles heel – and colette is no exception! ”
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antoine and colette
catches up with antoine doinel as a solitary 17 - year - old who works at phillips manufacturing lps to support himself. he meets colette, a high - school student, at a concert and falls in love for the first time. the film traces his awkward courtship of the icy colette, who never reciprocates. léaud gives a mature, knowing performance, establishing antoine as a universal figure, an everyman — or in this case, an everyboy - man — whose joys and pains can be felt by everyone. truffaut continues the soft, moving style he employed in
les quatre cents coups
to great effect, painting a poetic portrait of young, unrequited love. doinel' s adventures follow with
the second entry in the antoine doinel series is actually a short segment from an anthology film featuring directors from around the world telling stories about first - time love affairs. made in 1962 and running just thirty minutes, antoine and colette picks up with antoine a few years after the 400 blows (and it' s included as a bonus on the 400 blows dvd [ review ]). he is 17 and on his own. he has developed a love for classical music, and he works at a record company, first inserting the platters in their sleeves and then hand - pressing the albums himself .
antoine et colette was originally planned as two things: a) as a continuation for curious followers of antoine doinel' s life after his harsh childhood anecdotes of delinquency, lack of parental figures and scholar abuse, and b) the first of five segments of the multinational feature l' amour à vingt ans (1962), where the legendary directors shintarô ishihara, marcel ophüls, renzo rossellini and andrzej wajda also participated .
some time after
baisers volés
, antoine doinel (jean - pierre léaud) and christine darbon (claude jade) are married and antoine works dying flowers, and christine is pregnant and gives private classes of violin. when christine is near to have a baby, antoine decides to find a new job, and he succeeds due to a misunderstanding of his employer. in a business meeting, he meets the japanese kyoko (mademoiselle hiroko) and they have an affair. when christine accidentally discovers that antoine has a lover, they separate. but later they miss each other and realize that they do love each other .
antoine doinel is now more than thirty. he divorces from christine. he is a proofreader, and is in love with sabine, a record seller. colette, his teenager love, is now a lawyer. she buys... see full summary »
seems to be truffaut' s way of telling us not to worry about antoine .
while antoine, christine and colette relive their earlier entanglements, mr. truffaut makes it clear that his identification with antoine / leaud has grown from one based on concern, fondness and superficial likenesses to one having to do with a philosophy of life and art. antoine & apos; s stories - - the ones he acts out in these films as well as the ones he wants to writer as a novelist - - are so totally concerned with the processes and emotions of falling in love that he & apos; s continually surprised when the affairs are suddenly over .
]). she is a fidgety girl and doesn' t really seem focused on the performance, but rather than see that as a red flag, antoine is drawn to her. he starts to look for her at shows, and eventually talks to her and befriends her. truffaut captures the excitement and confusion of young love, both in success and failure. antoine spends much of
antoine et colette, truffaut' s second feature about the frequently - aimless antoine doinel, has the virtue of being compact in its theme, content, and length. it' s the natural follow - up for the character from what we last see in the 400 blows. self - sufficient and working for a record company in paris, his problems have shifted from school and parents to girls. his relationship with his friend colette (whom he wants to be more than friends with) is the focus here, and it' s depicted with the same realistic awkwardness that truffaut depicted so well in the previous movie .
the vicissitudes of antoine’s relationship with christine are somewhat difficult to follow, as acknowledged in the first treatment: “as the picture progresses, we will see that the relationship between antoine and christine, who studies violin at the conservatoire national de musique, is so uneven and complex that her parents and his friends are never quite sure where these two stand with respect to each other. ” in part, it was based on the liliane litvin episode. christine, not colette, is behind antoine’s rash decision to join the army (along with his reading of military servitude and greatness), and he writes to her while he’s away, just as truffaut continued to write to litvin in the vain hope that she would fall in love with him at some point. “you wrote so many, i couldn’t answer them all. i counted once. nineteen letters in one week, ” christine says, and later adds, “and they weren’t always nice letters. ” also, like colette’s parents before them, the warmhearted darbons become a substitute family for antoine, inviting him for meals and sending him vitamins so that he doesn’t get sick while working nights at the hotel. christine’s father even owns a garage, as liliane litvin’s stepfather and colette’s stepfather both did. (the fact that christine calls him “lucien” might suggest that he’s actually her stepfather, though that’s not stated, and they do have the same last name. initially, darbon was supposed to be colette’s surname, but truffaut appears to have dropped it somewhere between the first treatment and the final screenplay of antoine and colette, and her surname is never revealed. he may have taken it from the actor who played her stepfather, françois darbon. )
love on the run
picks up antoine and christine on the morning that their no - contest divorce becomes final. neither antoine nor christine is especially upset by this development. christine has learned to live without antoine and antoine is busily involved in a new affair with sabine, a pretty, bright young woman played by dorothee, a new actress who looks a lot like the younger claude jade and like catherine deneuve, who has also figured in mr. truffaut & apos; s career .
de baecque, antoine, and serge toubiana. truffaut: a biography. trans. catherine temerson. new york: knopf, 1999 .
truffaut, françois. the adventures of antoine doinel. trans. helen g. scott. new york: simon and schuster, 1971 .
truffaut gave revon and de givray a few starting points — one of these was the title, baisers volés (stolen kisses), which was derived from charles trenet’s song “que reste - t - il de nos amours” — and after much research, input from the director and subsequent revision, they produced what truffaut described as “a loosely written chronicle in which improvisation would have the final word. ” in addition to léaud, marie - france pisier and jean - françois adam would appear briefly as colette and her now - husband albert; françois darbon, who played colette’s stepfather in antoine and colette, was also brought back, but in the role of an army officer. (rené, notably, disappears without a trace. antoine was going to have a new best friend named didier in stolen kisses, but the character and his girlfriend, juliette, were cut shortly before shooting began .) truffaut assembled the rest of the cast in january 1968, and he started filming on february 5th .
this same technique is used once in the second full - length doinel picture, 1968' s stolen kisses. this follow - up makes for a more natural double feature with antoine and colette, as our hero is suffering from the same romantic maladies that plagued him six years prior .
the most 400 blows - like of the antoine doinel series. watching antoine fumble through this doomed courtship is both fun and painful. it’s a testament to how great truffaut really was at portraying romances... especially failed ones .
francois truffaut is no stranger to romance. one can feel traces throughout his filmography prior to antoine and colette that he is an individual who views the world through a romantic lens, and he reflects on screen his personal emotional experiences, captured with amplification but without losing trace of its honesty. this was certainly the case with the 400 blows, the first of his antoine doinel saga, as its autobiographical nature allowed truffaut’s audience to easily connect with the character, reaching beyond the doorway of antoine’s emotions, enduring through his experiences as if we ourselves are present and triggered .
antoine is in love with sabine (dorothée), but she breaks things off when he ditches her to go see his son at the train station. while he is there, he impulsively joins colette on a train ride where they recall their past and go through his recent autobiographical novel .
finally, monsieur lucien (julien bertheau) also re - enters antoine' s life and they visit his mother' s grave at montmartre .
antoine and colette is a short starring jean - pierre léaud, marie - france pisier, and patrick auffay. this short film is the first segment of five in the multinational feature love at twenty (1962), all five segments on the theme of first adult love. after indulging in much delinquency in... see full summary »
as it is the first no - fault divorce of its kind in france, the press surrounds them. in the crowd is also antoine' s past love, colette (marie - france pisier), who is now a lawyer and in love with xaiver the librarian (daniel mesguich) .
each series have a rather aimless, yet never frivolous plot. six years later, truffaut directs stolen kisses, where he comments on the cinémathèque française incident. the may of 1968 marked henry langlois’, the director of the cinémathèque française, substitution with pierre barbin– the change was orchestrated by the government and the ministry of culture. kisses is dedicated to the everlasting film preservation made by langlois. in other words, dedicated to the love of cinema. two years later, bed and board, then love on the run nine years later. and as we witness truffaut’s comedic and meticulous character development, we know that france is changing too. antoine’s mischievous charm leads him to incredibly comical, whimsical, and melancholy circumstances that survey his morality. truffaut makes antoine take different jobs and fail at each one of them. he works at a record company in antoine and colette. he is a detective, shoe salesman, and tv repair man in stolen kisses. antoine is pure magic, even a magician himself on - screen, justified by his first job in bed and board as he transforms white flowers into different colors. he toys with work and love as if it were magic. antoine’s love affairs are ironic, dismal, and childish. after being released from the military, the first thing he does is seek emotional refuge in a prostitute. in stolen kisses, antoine falls in love with the wife of his boss. in bed and board, a japanese women seduces antoine, and antoine has no choice but to cheat on his wife christine .
since the beginning, the antoine doinel of truffuat’s emblematic first feature would only be a frozen image of childhood in post - war france. the 400 blows ends with an ambiguous tracking shot of antoine at the beach. it was a detailed sketch of truffaut’s young and damaging years. each antoine doinel film personifies a historic moment, and the 400 blows marks the beginning of a new cinema. in contrast with his french colleagues, who crafted characters rather political and revolutionaries, truffaut focused on designing his political character as a misfit in society. antoine doinel doesn’t move along the societal waves, he moves to his own current. in two decades, antoine never grows up emotionally or mentally, only physically. leaud maintains intact the innocent image of antoine and the symbol of french new wave, no matter its apparent physical change. one may be ambivalent of these series– if utterly obsessed and seduced by the ambiguity of the 400 ending– as truffaut easily destroys audience’s imaginative future of older antoine. in the end, the series naturally work because antoine is a representation of luck, charm, and ingenuousness .
from the very beginning, this final chapter in the antoine doinel series feels superfluous. once again, the focus is on antoine' s love life and he is pretty much the same character he was in the past two films - and any charm he exuded in those films is running out here. the same can be said for the films. the first film in the series - the 400 blows, and the short film follow - up, antoine and colette, are the two best and most interesting films in the series. everything after is a slow descent. stolen kisses is fine love on the run feels even duller. even worse, there is a lot of rehashing -
remember when this happened ?
- and then we see a…
even though this makes it sound as if antoine was merely léaud mimicking truffaut, both men acknowledged that antoine became a mixture of the two of them, and that léaud’s influence on the character increased over time. in their biography of truffaut, antoine de baecque and serge toubiana cite stolen kisses as the film where the actor really started to have an impact: “increasingly, the character’s gestures, attitudes, anecdotes, and even memories belong to léaud himself. truffaut was fully aware of this and encouraged it, never curbing léaud’s inspiration and improvisations. ”
, a noble effort with great acting and beautiful cinematography, but overbearing music and a muddled script .
thus dishonorably discharged, antoine finds himself at loose ends. after stopping by a brothel, he returns to his old room (not either of his rooms from antoine and colette, for the record) and then goes to see the darbon family. christine darbon (claude jade) — the girl behind antoine’s “personal reasons” — is away on a ski trip, but her parents (daniel ceccaldi, claire duhamel) welcome him warmly. through christine’s father, antoine becomes a night clerk at a hotel, but he’s soon fired after he unwittingly lets a private detective and a jealous husband enter a woman’s room to obtain proof of adultery. to make up for it, the detective, monsieur henri (harry - max), gets antoine a job at his company, the blady agency. before long, the owner, monsieur blady (andré falcon), becomes frustrated by antoine’s incompetence. “i don’t know what to do with you, ” he says after antoine botches a simple assignment. “you mean well, but… it’s discouraging. ”
is among the most beautiful things truffaut ever committed to film. there is something bracing about its swiftness alone, and about the way truffaut slices confidently through his material, both expository (antoine' s modest living situation, his job, his determination to land colette) and emotional (a love of paris, a deep attachment to music, and a burning desire for women, all three traits shared by the director and his alter ego)... he also shifts
to antoine, fabienne is “an apparition” and the real - life embodiment of madame de morsauf from balzac’s the lily of the valley. fabienne herself visits him in his room and sets about to correct his overly romantic view of her and of women in general :
is a cinematic clip show, a review of all that has come before. we see the pieces of antoine' s past laid out like a romantic puzzle, complete with memories added by both colette and christine. it has an analogue in the here - and - now puzzle antoine has been trying to put together: he found sabine because of a torn - up photograph. the identity of the mystery girl that he reassembled demanded to be answered. is it fate that has brought all these people together? has all that has happened truly been to push antoine toward sabine ?
a wonderful bookend to the antoine doinel saga that is not given nearly the amount of credit it deserves .
after being discharged from the army, antoine doinel centers a screwball comedy where he applies for different jobs and tries to make sense of his relationships with women .
is agile and entertaining enough to keep that from mattering too much. the maturing antoine doinel is every bit as charming as he was when young, and there is a looseness and unpredictability to truffaut' s plotting that keeps us wanting to know what happens next .
after the 400 blows, we are given antoine and collette. it' s a film glowing with youth and growing passion for romance. it' s exciting to be in love, it' s boring and just cruel if who you wanted to be with is disinterested af .
, which was truffaut' s debut feature. that film has a huge emotional impact on me whenever i watch it, and i know i' m not the only one who feels this way. the ending is iconic for its ambiguity; after the film takes us on such an emotional journey, we don' t even get unequivocal proof in the end that antoine is going to be
ok .
the whole purpose of antoine and colette (and continuing on the antoine character in general) seems to be truffaut' s way of telling us (and perhaps himself) that we don' t need to worry, antoine' s life will continue on in its same haphazard way, and he will always be able to make it through whatever situation he finds himself in. i' m reminded of a quote from felini that has always stuck with me, about the titular character in his film
when trying to sort out director, actor and character, it should be noted that stolen kisses relies much less on truffaut’s personal history than the earlier entries in the series do. in 1965, he and jean - louis richard had started writing a sequel to antoine and colette in which antoine begins working as a journalist, but he abandoned it after a few months because he felt that it was too autobiographical. thus, instead of becoming a music critic, as antoine and colette might suggest to viewers with a basic knowledge of truffaut’s life, antoine tends to take whatever job comes his way. his interest in music is all but forgotten, although the fact that christine is a conservatory student may be a subtle nod to the previous film, and he says that he likes music in the memorable “oui, monsieur” scene; at any rate, he no longer has a passion that corresponds to truffaut’s cinephilia. for the most part, he takes his various jobs seriously, but he’s just not very good at any of them — a far cry from truffaut, a star critic in his early twenties and an award - winning director a few years later .
aimlessly yearning, wandering the streets and waiting for colette to come home, waiting for her to notice him, waiting for his attentions to be rewarded. he makes progress, but also makes a fatal mistake in moving into the apartment building across the street from her family and befriending her parents .
but the very girl - next - door christine lacks the comparative mystery and exoticism of fabienne tabard, a woman who’s older, married and cultured enough to speak fluent english, and once he meets her, antoine spurns christine. “love and friendship go hand in hand with admiration. and i don’t admire you! ” he says. “even when i thought i loved you, i didn’t admire you, and that’s the truth. ” christine, who can’t figure out how she offended him, is baffled and irritated .
if antoine as a character and léaud as an actor are somewhat subdued in antoine and colette, stolen kisses goes in the opposite direction. this time around, antoine’s clumsiness in love spreads to his work and his life in general, and léaud’s performance reflects this in a very physical manner. the actor had played a high - energy comic role the year before in jerzy skolimowski’s le départ, and although he’s comparatively restrained in truffaut’s film, he spends a good bit of his screen time in motion: gesticulating, running, bumping into signs, falling headlong. (his fall appears to be accidental, as the screenplay only says that antoine “steps aside, ” but it fits in perfectly with the rest .) in 1970, he told the new york times that he was “mad about buster keaton, ” and keaton may well have influenced his work in stolen kisses, much of which wouldn’t be out of place in a silent comedy. however, léaud is considerably less deadpan than keaton, like in the scene where antoine is being discharged from the army. as the adjutant chastises him, telling him that he won’t be able to work for the civil service and that his best career option is peddling neckties on the street, “though god knows you’ll never need one yourself, ” antoine alternates between holding back laughter and making sardonic faces .
antoine doinel returns to find he’s grown up – and so has the french new wave, practically mainstream as truffaut engineers a lovely, light comedy for his alter - ego .
more top - notch detective work. later in this scene, when antoine is spotted by the man he’s tailing, he just puts on a hat and keeps following him .
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ant - man and the wasp, starring paul rudd and evangeline lilly, took the top spot at ...
colette was of more interest to me. unlike the typical hollywood female roles of the time (i’m thinking of marilyn monroe in some like it hot), colette (played by marie - france pisier) is an independent, educated girl. she weilds all of the power in her friendship with antoine, and whether or not she is purposefully toying with his emotions is unclear, though probable. even though she’s the reason the film does not have a “happy” ending, i can’t help but like her. i also cannot help being reminded of a more recent film with the same themes, 500 days of summer (2009), starring joseph gorden - levitt and zooey deschanel. the female lead in that film, summer, fosters a relationship with the male lead while spurning his romantic advances, just as colette does with antoine. independent female aside, the trials of young love are obviously a theme filmmakers return to continually and explore in a myriad of personal ways .
in francois truffaut’s film bed and board, antoine doinel (jean - pierre leaud) attempts to write a book about his tumultuous childhood, seeking the advice of his wife christine darbon (claude jade). all she can say is “a work of art can’t be a settling of old scores; if it is, then it’s not a work of art. ” francois truffaut’s semi - autographical series of antoine doinel, chronicled in five segments, the 400 blows (1959), love at twenty: antoine and colette (1962), stolen kisses (1968), bed and board (1970), and love on the run (1979), are marvelous works of art. truffaut slowly came to settle old scores through the colorful canvas of leaud’s ingenious features and superb acting; truffaut’s cinematic alter - ego. the series are downright absorbing, funny, romantic, and historic. truffaut carried out a constant theme and emotion: how a character may cope in a flourishing france, crystallizing an entire movement up to the 80’s. just think of the antoine doinel series as the original and talented version of richard linklater’s boyhood idea .
truffaut had first reunited with the young star of the 400 blows, jean - pierre léaud’s antoine doinel, in antoine et colette, a short devised for portmanteau movie love at twenty (and sadly not included here, although it is on the way: for more on that, read on). you can feel, though, that the itch hadn’t gone, hence this feature - length sequel, an expansion of the short’s theme of relationships that now takes in the difficulty of getting on in life and in work in a man’s early twenties .
first truffaut gave us
the 400 blows .
then
stolen kisses
... and now bed and board
en este caso se recuperan personajes que no veíamos desde la segunda entrega, como es el caso de colette, que juega aquí un papel preponderante en la trama después de haber sido completamente olvidada .
i only found out about the adventures of antoine doinel recently. and it' s a real thing. it' s a five part story on françois truffaut' s fictional persona .
things take a turn for the better when antoine joins a detective agency. though the cases tend to involve mainly following other people around for ludicrous and selfish reasons, it gives antoine a sense of purpose. ironically, it' s when he got embroiled in an adultery case while working the front desk of a hotel that antoine got the investigator job, and it' s also adultery that will be both his undoing as a private eye and allow him to succeed as a lover. while undercover in a shoe store in hopes of finding out why everyone hates its owner, antoine is enchanted by the boss' wife, an elegant older woman played by a radiant delphine seyrig (
, but criterion recently extracted truffaut' s segment and released it as a stand - alone piece in their adventures of antoine doinel box set. that' s how i first came across it, and i still haven' t seen the rest of
is the second of five films francois truffaut made about antoine doinel, a semi - autobiographical and perpetually hapless character played by jean pierre leaud. you' d be hard pressed to find someone who' s seen all five films and wouldn' t name
it' s hard to say what someone just happening on bed and board randomly would make of it. while the 400 blows [ review ] and stolen kisses can stand on their own independently of the other doinel films, bed and board is nowhere near existing in a vacuum. there is an assumption that you know who antoine is, and though truffaut could have easily made a stand - alone film that relates the newly married experience in much the same way stolen kisses conveyed the travails of dating and early adulthood, he does less to establish antoine and christine as characters separate from what came before. this is a chapter for the initiated only, and is without a doubt lesser for it .
she does nothing to discourage his attentions, often joining him at concerts and inviting him into her home. colette’s mother finds the young boy “romantic” (perhaps because of his long hair), and her affable father enjoys the young boy’s company. the only problem is that colette seems, at best, diffident about her would - be suitor, inviting him to drop by without promising him that she will be at home. in one instance he discovers that, despite her commonly expressed insistence that she needs to study, that she has stayed out most the night with friends. another time, she simply fails to show up to a lecture on electronic music she has hinted she might attend, and antoine leaves in frustration .
l' amour en fuite (love on the run) is presented in flashbacks from the previous four movies as antoine doinel (jean - pierre léaud) meets up with people from his past. as the fifth and final film in the series, antoine is over 30 years old and meets with his wife, christine (claude jade), to sign the papers for their divorce .
guy, lauren, jimmy and ty will be on screen until later this year and over the coming months viewers will see their characters involved in nail - biting and life - changing individual storylines .
, who is quite effective here as the mayor. he is stopping by the precinct to question charges of unfair behavior and examine pope' s methods. the frank and unscripted manner in which the cops and the crooks interact transcends most similar genre pictures, and unlike
it' s in the third antoine doinel film, 1970' s bed and board, that francois truffaut' s series of films becomes a series proper. now there is a set style and tone, the happenings vacillating between romantic drama and whimsical comedy, the loose narrative only reflecting traditional plot structure in an overarching sense. in relating the life of antoine doinel, small moments are equal to the big changes any individual encounters in his or her worldly progress .
as he walks away, he adds, “i am very happy. ” christine tells antoine, “that man is crazy! ” and though antoine agrees (“yes, i’m sure he is”), he looks far more perturbed than she does. the fact that christine has a stalker is reason enough for concern, of course, but the “definitive man” comes across as a more extreme version of antoine himself, or a more assertive version who says what antoine merely thinks and feels. antoine may also be wondering if he is, in fact, a “temporary person”; at the very least, his job record would suggest as much. the encounter, brief as it is, casts a foreboding shadow over his future with christine. truffaut must have considered it important, because it was one of the few starting points that he gave revon and de givray, along with the title, the army material and the “oui, monsieur” incident .
beginning with
the 400 blows ,
director francois truffaut made a series of films about the impetuous antoine doinel, in which this is the last. antoine is now 30, working as a proofreader and getting divorced from his his wife. it being the first
no - fault
divorce in france, a media circus erupts, dredging up antoine' s past. indecisive about his new love with a store clerk, he impulsively takes off with an old flame .
antoine’s romantic exploits, meanwhile, lack the autobiographical directness of his doomed infatuation with colette — that is, truffaut’s doomed infatuation with liliane litvin — but the director’s busy love life must have provided plenty of material. “i may lack balzac’s genius, but my love life is just as complicated as his, the objects of my affection being either sixteen or forty years old, with a few ambiguous relationships between those 2 ages, ” he wrote to his friend robert lachenay in february 1951, a line reminiscent of antoine’s dilemma with christine and the significantly older fabienne .
, a surprisingly action - packed remake with colin farrell. go watch the punching and the shooting and don' t worry about it .
en esta entrega antoine está completamente perdido en su laberinto sentimental. tiene una relación con su (sorpresa) nuevo
amor
, sabine, y afronta su divorcio con christine, mientras ambos se debaten sobre si queda algo que salvar de su relación o no. colette, su
amor
de la segunda entrega, reaparecerá como una abogada colega del jurista…
the job is a funny, apt choice, giving truffaut an excuse to fill the film with unusual characters and narrative tangents, while serving to educate antoine in the ways of the world – specifically, the importance of finding somebody faithful when everybody has their hidden agendas. in fact, antoine already knows her: the lovely, tender - hearted christine darbon (claude jade), a newcomer in the film but already immersed in an on - off relationship with antoine. it’s an interesting choice to give them a history, underlining the sense that antoine exists beyond the parameters of the screen, the continuation of a life witnessed as junctures but in fragments .
, he works for a japanese businessman and attempts to woo his daughter. they' re good films, though i don' t like them as much as antoine and colette, and i think their length has something to do with it. i' m not sure that truffaut would be able to make a feature out of the plot of this short. it' s so much a slice of life, a fleeting glimpse into the day - to - day of antoine as a young adult. aside from his ill - fated romance with colette, the film is much more about creating an overall atmosphere than focusing on a gripping plot. since it' s hard to sustain a the slice - of - life atmosphere over a 90 minute feature, the latter three films in the series don' t have the same effect as this short. for this reason, perhaps the series as a whole would have been stronger if truffaut had kept the last four films as shorts rather than features. all we really want is a glimpse into antoine' s life to know that he' s staying out of trouble (though that' s rarely the case with him), and that is all
stolen kisses was francois truffaut’s third exploration of the character antoine doinel, to whom we were introduced when he was a child in the 400 blows and was glimpsed a few years later in a short segment antoine and colette that was part of an omnibus film titled love at 20. here we see antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry - level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. the tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to the 400 blows. it could have been easily plausible to make this same movie with a lead character of a different name, even if truffaut had still cast jean - pierre leaud as its star performer. leaud was by now a familiar representative of his emerging generation through his mid - 60s work with jean - luc godard, most notably masculin feminin, and seemed to have a unique ability to reference the restless, unsettled state of flux so common to people in their early twenties, both then and now .
love on the run, the conclusion to françois truffaut' s antoine doinel series, is the first to approach the same bittersweet tone of the first entry. while it doesn' t have the same energy and heart of the 400 blows, this movie provides a fitting
end
for the character of antoine by making him come to terms with his past for the first real time in these sequels. this means bringing back the characters important in his life, including his ex - wife, christine, and his first love, colette. they, along with his new lover sabine, all play important roles in this movie' s introspective story. love on the run boils down the doinel character to the essentials and focuses on the intersection of the…
antoine and colette ( french : antoine et colette ) is the second film — a short — in françois truffaut 's series about antoine doinel , the character he follows from boyhood to adulthood through five films . the third is the feature film stolen kisses . antoine and colette was made for the 1962 anthology collection , love at twenty , which featured shorts from the renowned directors shintarô ishihara , marcel ophüls , renzo rossellini and andrzej wajda , as well as truffaut . antoine doinel — and jean-pierre léaud , the actor who played him throughout all five films — had made his screen debut in 1959 with truffaut 's first film , the 400 blows . truffaut 's tender , semi-autobiographical film about the young antoine and his gradual descent into petty crime introduced the world to the french new wave , a short-lived but highly influential outpouring of work from young french filmmakers including jean-luc godard , claude chabrol , and éric rohmer . 
antoine and colette (french: antoine et colette) is the second film — a short — in françois truffaut's series about antoine doinel, the character he follows from boyhood to adulthood through five films. the third is the feature film stolen kisses. antoine and colette was made for the 1962 anthology collection, love at twenty, which featured shorts from the renowned directors shintarô ishihara, marcel ophüls, renzo rossellini and andrzej wajda, as well as truffaut. antoine doinel — and jean-pierre léaud, the actor who played him throughout all five films — had made his screen debut in 1959 with truffaut's first film, the 400 blows. truffaut's tender, semi-autobiographical film about the young antoine and his gradual descent into petty crime introduced the world to the french new wave, a short-lived but highly influential outpouring of work from young french filmmakers including jean-luc godard, claude chabrol, and éric rohmer.
antoine and colette (french: antoine et colette) is the second film — a short — in françois truffaut's series about antoine doinel, the character he follows from boyhood to adulthood through five films. the third is the feature film stolen kisses. antoine and colette was made for the 1962 anthology collection, love at twenty, which featured shorts from the renowned directors shintarô ishihara, marcel ophüls, renzo rossellini and andrzej wajda, as well as truffaut. antoine doinel — and jean-pierre léaud, the actor who played him throughout all five films — had made his screen debut in 1959 with truffaut's first film, the 400 blows. truffaut's tender, semi-autobiographical film about the young antoine and his gradual descent into petty crime introduced the world to the french new wave, a short-lived but highly influential outpouring of work from young french filmmakers including jean-luc godard, claude chabrol, and éric rohmer.