Word: lovelies
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Dates: during 1970-1979
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...United States to him epitomizes the search for improvement, of enthusiasm tempered by pragmatism. "I have a great love and admiration for Americans," he says. "Americans are descendants of those in the old world who would not put up with evil. They preferred to break away and try again...
...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...
...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 ride along in the taxi, Truffaut reveals through a series...
...that we saw the adolescent Antoine constructing a shoebox shrine to Balzac. Now in Love on the Run, we see Antoine working in a printing shop and writing books. Through his autobiographical persona. Truffaut speaks for all the children in the world who grew up living vicariously through fiction. Mixed-up, intellegent, creative. Antoine symbolizes the modern intellectual who spent his adolescence going to classical music concerts only to fall in love with the girl in the next aisle...
...Love on the Run is a brilliant, lyrical conclusion to Truffaut's quintet and reestablishes Truffaut's directional preeminence...