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Baisers Volés (1968)
François Truffaut's BAISÉS VOLÉS (STOLEN KISSES) is the third film in the director's Antoine Doinel series, which begins with young Antoine (Jean-Pierre Léaud) running away from home in THE 400 BLOWS. Now the lovable everyman is a bushy tailed twentysomething who has just been released from military service. Anxious to jump back into civilian life, he reunites with his girlfriend, Christine (Claude Jade), and starts a job as a night watchman at a hotel. Some hilarious scenes follow as Antoine's combined incompetence, flightiness, and general bad luck land him in some ruthlessly ironic situations. Still, the determined youth perseveres. After he loses his hotel job, Antoine is hired as a private detective, and then as a shoe salesman; he's fired, however, for sleeping with the boss's wife (Delphine Seyrig). And when he's not working, he throws money at whores like there's no tomorrow. (His date with "a very tall woman" epitomizes the quirkiness of French humor.) In an unforgettable scene, the frenzied Antoine stands in front of the mirror emphatically repeating the names of his lovers and then his own. All of these famously original episodes feed into flashbacks from previous films in the series. To complete the picture, BAISÉS VOLÉS includes beautiful shots of Paris--the Sacre Couer, the Arc de Triomphe, and other favorite monuments--that cement the always-romantic nature of Truffaut's works.
Director/Screenwriter: François Truffaut
Producer: Marcel Berbert
Screenwriters: Claude de Givray, Bernard Revon
Cinematographer: Denys Clerval
Score: Antoine Duhamel
Cast: Jean-Pierre Léaud, Delphine Seyrig, Claude Jade, Michel Lonsdale, Daniel Ceccaldi, Claire Duhamel, Jean-François Adam, Martine Brochard, Robert Cambourakis, François Darbon, Jacques Delord, André Falcon
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Domicile Conjugal (1970)
In the fourth installment of François Truffaut's Antoine Doniel series, this romantic comedy shows how Antoine (Jean-Pierre Léaud) went from being a mischievous boy to an adorably charming young man of 26. Domicile Conjugal begins with Antoine settling down with Christine (Claude Jade), his girlfriend from the previous film, Baisers volés. He finds himself accepted and loved by his wife and her family, so the young couple move in to an apartment building together. They live in a lively neighborhood of interesting characters, such as the old man who never leaves and the opera singer who fights with his wife. Antoine finds work as a florist painting roses, while Christine makes a living by teaching violin lessons. After he gets involved in an accidental fire at the florist's, he gets a new job with an American corporation where he steers radio-controlled boats around a pond all day. A big change occurs when Christine becomes pregnant and gives birth to a baby boy, while Antoine grows increasingly distant. Eventually, he becomes infatuated with a Japanese girl, Kyoko (Hiroko Berghauer), resulting in some shifts in lifestyle. The fifth and final Antoine Doniel film L'Amour en fuite was released in 1979, picking up the story with Antoine after he reaches his thirties.
Producer/Screenwriter/Director<wbr>: François Truffaut
Producer: Marcel Berbert
Screenwriters: Claude de Givray, Bernard Revon
Cinematographer: Néstor Almendros
Composer: Antoine Duhamel
Cast: Jean-Pierre Léaud, Claude Jade, Hiroko Berghauer, Claire Duhamel, Barbara Laage, Danièle Gérard, Daniel Ceccaldi, Billy Kearns, Annick Asty, Marcel Berbert, Sylvana Blasi, Daniel Boulanger, Jacques Cottin, Marie Dedieu, Christian de Tilière, Frédérique Dolbert
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ChΙοe iח the Αfterחοοn (1972)
Α married maח is tempted by a ΙονeΙy yουחg wοmaח whο is eager tο haνe aח affair with him. Αs he cοחtempΙates iחfideΙity, he aΙsο pοחders the meaחiחg οf marriage, aחd οf faithfυΙחess--aחd cοmes, mοre aחd mοre, tο appreciate the wοmaח he's wed. The Ιast οf Εric Rοhmer's "Six Cοחtes Μοraυx (Six ΜοraΙ TaΙes)."
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L'Amour en Fuite (1979)
François Truffaut's LOVE ON THE RUN finds the director's alter ego, Antoine Doinel (Jean-Pierre Léaud), in his mid-30s. Relatively content with his young, beautiful lover, Sabine (Dorothée), Antoine still runs from woman to woman, looking to fill the gap in his life--a void that exists because of his inability to commit in relationships and because of his mother's recent death. As Antoine gains self-awareness, slowly comprehending the reasons for his emptiness, he reflects back on his various relationships. These experiences are related in part through black-and-white flashbacks dictated by the pages of his semiautobiographical book, LES SALADES DE L'AMOUR, and also in his current life as Antoine actively seeks out people and places from his past and attempts to reinvent them in the present. This process involves his first love, Collette (Marie-France Pisier); his second love, Christine (Claude Jade), who eventually became his wife and birthed his son, Alfonse; and his wife's violin student, Liliane (Dani). With a mixture of frank dialogues about fidelity, love, and scholarship (Antoine works in a book printing house to which he is, occasionally, quite committed) and brilliant camerawork that combines deliberate framing--panes of glass, windows, mirrors, doorways, and gates that communicate the way Antoine distances himself from things--with smooth transitions to flashbacks, future events, and dream sequences, the viewer gets a direct line into Antoine's subconscious. In this manner of reflecting back and then inching forward chapter by chapter, LOVE ON THE RUN concludes the five-film Antoine Doinel saga in the same playfully endearing fashion that is signature of Truffaut's entire body of work.
Director/Screenwriter/Producer<wbr>: François Truffaut
Screenwriters: Jean Aurel, Marie-France Pisier, Suzanne Schiffman
Cinematographer: Néstor Almendros
Composer: Georges Delerue
Cast: Jean-Pierre Léaud, Marie-France Pisier, Claude Jade, Dorothée, Daniel Mesguich, Dani, Rosy Varte, Julien Bertheau, Marie Henriau, Jean-Pierre Ducos, Pierre Dios
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Μa חυit chez Μaυd (1969)
Ιח the briΙΙiaחtΙy accοmpΙished ceחterpiece οf Rοhmers ΜοraΙ TaΙes series, Jeaח-Lουis Triחtigחaחt pΙays Jeaח-Lουis, οחe οf the great cοחfΙicted figυres οf sixties ciחema. Α piουs CathοΙic eחgiחeer iח his earΙy thirties, he Ιiνes by a strict mοraΙ cοde iח οrder tο ratiοחaΙize his wοrΙd, drοwחiחg himseΙf iח mathematics aחd the phiΙοsοphy οf ΡascaΙ. Αfter spοttiחg the deΙicate, bΙοחde Fraחçοise at Μass, he νοws tο make her his wife, aΙthουgh wheח he υחwittiחgΙy speחds the חight at the apartmeחt οf the bοΙd, brυחette diνοrcée Μaυd, his rigid ethicaΙ staחdards are chaΙΙeחged.
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