Word: doinel
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Dates: during 1970-1979
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...happy news about Love on the Run, Frangois Truffaut's fifth autobiographical Antoine Doinel movie, is that Antoine still refuses to grow up. Though the director's alter ego has come far since he first appeared 20 years ago in The 400 Blows, he remains a hopelessly restless, love-hungry kid. Antoine will badger, beg and lie to win a woman's affection, only to discover over and over that his hunger is not satiated by each new conquest. As a pal tells him this time, "All you care about is boy meets girl; from there...
...like Cinderella Liberty, is a romantic work, but in this case it's romance with a lot of heart and brain behind it. Francols Truffaut, working with Catherine Deneuve and Jean-Paul Belmondo, has created a beautiful motion picture that is in many ways more rewarding than the Antoine Doinel series. Mermaid is playing with another Truffaut flick, The Bride Wore Black starring Jeanne Moreau. This one is relatively lightweight, but it's still an eminently enjoyable bit of story-telling. Shows begin...
...getting hit by a sledgehammer--pure silly bliss. This is an okay emotion to have visited upon you, and this is a picture not to be missed. Playing at the Brattle with Stolen Kisses until Tuesday. The second show on the bill is a Truffaut tale about young Antoine Doinel; it's more incisively funny than the Malle film but not nearly as purging...
...film business today is that Truffaut is very close to burned out. A bank of admiring critics are scavenging his previous films for motifs to expand on. Truffaut himself has reportedly been undergoing psychoanalysis. He has even spoken, perhaps facetiously, of making another film in the Antoine Doinel series, (starring Jean-Pierre Leaud) in which the "alter-ego" hero tells in analysis what his director has done to him. In Day for Night, the mercurial Leaud character is joined by the director himself, playing a director. The separation is perhaps a sign of Truffaut's gropings for a new directorial...
AUTEUR THEORIES OF film have always been closely linked to a study of the expressive self, and for Truffaut the Doinel films, The Wild Child, with its version of natural man, and Fahrenheit 451, a view of the individual in a repressive dystopia, are all tied to this theme. Now he has made what seems to be seem kind of auteur ultimate: a film where the director is himself the individual studied. Comparisons with Fellini's 8 1/2 are hard to avoid, and they are not to the advantage of Truffaut's film. Truffaut has even borrowed Fellini's peculiar...