Word: leaud
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...Night with Jacqueline Bisset, Jean-Pierre Aumont and Jean-Pierre Leaud...
More serious -- and moving -- tributes were offered to two absent friends. One afternoon a single spotlight illuminated the Palais stage -- the aura left vacant by Francois Truffaut, who died at 52 last October -- and slowly two dozen figures gathered in the shadows. Jeanne Moreau, Jean-Pierre Leaud, Catherine Deneuve, Gerard Depardieu, Fanny Ardant and a host of old colleagues were there to wreathe the great director's memory in their affection and gratitude...
...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...
Once again, Jean-Pierre Leaud delivers a perfectly realized portrait of Antoine. Playing Truffaut's autobiographical self, Leaud has merged the three: Antoine, Truffaut and himself. The rest of the performances are equally superb. Claude Jade manages to endow the solemn Christine with a rare subtlety. Nicknamed Peggy Proper because of her almost British reserve, Jade allows this woman's wit and shy humor to shine out. Marie-France Pisier performs most of the heavy dramatics; she gives her Colette a certain desperation well-suited to a woman lawyer unable to get clients and reduced to turning tricks...
...restlessness the director sees love's unpredictability, its evanescence, its incompatibility with the rude dailiness of life. Truffaut believes 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...