Word: leaud
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...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...
Truffaut's decision to do without the services of Jean-Pierre Leaud for one film, at least, is triumphantly vindicated. Leaud is a wonderful actor in some respects, but he is sui generis; one could no more imagine him in a role in this movie than Woody Allen could have taken a part in, say, Gone With the Wind. Isabel Adjani conveys all the levels of Adele's emotional life, though I suspect that the film might have been more effective if she looked older, more like the thirty she is supposed to be. Adjani manages to epitomize everything French...
...Mother and the Whore. A little-known masterpiece that deserves to be seen. Jean Eustache has turned trivial and quotidian dialogue into a powerful commentary on deep and diverse issues. Four hours long but worth every minute. Jean Pierre Leaud is even better here that he is in Truffaut's mold. One of the most thought-provoking films of recent years...