Word: doinel
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Dates: during 1970-1979
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...film concludes Truffaut's autobiographical quintet: The 400 Blows (1959), Love at Twenty (1962), Stolen Kisses (1968) and Bed and Board (1972. Featuring Jean-Pierre Leaud, who has played Antoine Doinel in all five films, exquisitely depicts french life from the early sixties to the present day. Interweaving flashbacks from his pervious films. Truffaut presents the definitive and final portrait of Antoine in Love on the Run. Charming, irresponsible and utterly romantic, Doinel, the director's alter ego, makes love, writes, philosophizes, eats and drinks all with the same gallic enthusiasm. We know at the end that Antoine will remain...
...film explores the duality of Doinel's nature; on one hand, he defends his solitude with a stubborn, irrational fervor: no, he will not leave his shirts or razor at his girlfriend Sabine's flat, even though doing so would put an end to his continual lateness at work. Yet he tracks down, seduces, and falls in love with this same woman, all from finding a photograph of her, ripped up on the floor of a telephone booth. He forgets that he and his wife Christine (Claude Jade) are to be divorced that morning. Yet as he and his wife...
Indeed, Romance is awash in cinematic jokes and asides: Hill laces the action with references to Hollywood lore, his own past hits and Truffaut's Antoine Doinel movies. The film's portrait of young love may be touching, but its most moving moments celebrate love of a different kind: the passion that movie professionals, both young and old, have for their craft...
...true romance can last only as long as a fleeting, stolen kiss, but, even so, he is not a weary pessimist. Each time Antoine (the ever boyish Jean-Pierre Leaud) picks himself up off the floor for another doomed fling, it is a victory of the spirit. The best Doinel movies, The 400 Blows and Stolen Kisses (1968), are among the most hilarious and disturbing film comedies ever to chart the vicissitudes of human passion...
This is classic Truffaut technique, but despite uniformly vivid performances, the film never attains its promised emotional complexity. The major difficulty is the director's determination to turn Love on the Run into a retrospective of the entire Doinel cycle. Not only do old players reappear, including Marie-France Pisier of Love at 20 (1962), but so do clips from the other films. It may be a laudably ambi tious notion to refract the past through the present in such purely cinematic terms, but there is too much material to be digest ed in one movie. Too often Truffaut...