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L'amour en fuite

  • 1979
  • Tous publics
  • 1h 34min
NOTE IMDb
7,0/10
7,9 k
MA NOTE
Dani, Dorothée, Claude Jade, Jean-Pierre Léaud, and Marie-France Pisier in L'amour en fuite (1979)
Regarder Bande-annonce [OV]
Lire trailer2:32
1 Video
90 photos
ComédieDrameRomance

Antoine Doinel a plus de trente ans et est divorcé. Il est relecteur et est amoureux de Sabine, vendeuse de disques. Colette, son amour de jeunesse, est maintenant avocate. Elle achète le pr... Tout lireAntoine Doinel a plus de trente ans et est divorcé. Il est relecteur et est amoureux de Sabine, vendeuse de disques. Colette, son amour de jeunesse, est maintenant avocate. Elle achète le premier roman autobiographique publié par Antoine.Antoine Doinel a plus de trente ans et est divorcé. Il est relecteur et est amoureux de Sabine, vendeuse de disques. Colette, son amour de jeunesse, est maintenant avocate. Elle achète le premier roman autobiographique publié par Antoine.

  • Réalisation
    • François Truffaut
  • Scénario
    • François Truffaut
    • Marie-France Pisier
    • Jean Aurel
  • Casting principal
    • Jean-Pierre Léaud
    • Claude Jade
    • Marie-France Pisier
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    7,9 k
    MA NOTE
    • Réalisation
      • François Truffaut
    • Scénario
      • François Truffaut
      • Marie-France Pisier
      • Jean Aurel
    • Casting principal
      • Jean-Pierre Léaud
      • Claude Jade
      • Marie-France Pisier
    • 28avis d'utilisateurs
    • 49avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire et 1 nomination au total

    Vidéos1

    Bande-annonce [OV]
    Trailer 2:32
    Bande-annonce [OV]

    Photos90

    Voir l'affiche
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    + 83
    Voir l'affiche

    Rôles principaux22

    Modifier
    Jean-Pierre Léaud
    Jean-Pierre Léaud
    • Antoine Doinel
    • (as Jean-Pierre Leaud)
    Claude Jade
    Claude Jade
    • Christine Doinel
    Marie-France Pisier
    Marie-France Pisier
    • Colette Tazzi
    Dani
    Dani
    • Liliane
    Dorothée
    Dorothée
    • Sabine Barnérias
    • (as Dorothee)
    Rosy Varte
    • Mère de Colette
    Marie Henriau
    • Juge Divorce
    Daniel Mesguich
    Daniel Mesguich
    • Xavier Barnérias, le libraire
    Julien Bertheau
    Julien Bertheau
    • Monsieur Lucien
    Jean-Pierre Ducos
    • Avocat de Christine
    Pierre Dios
    • Maître Renard
    Alain Ollivier
    • Juge Aix
    Julien Dubois
    • Alphonse Doinel
    Monique Dury
    • Madame Ida
    Emmanuel Clot
    • Emmanuel
    Christian Lentretien
    • Dragueur du train
    Roland Thénot
    • Téléphoniste en colère
    Alexandre Janssen
    • Un petit
    • Réalisation
      • François Truffaut
    • Scénario
      • François Truffaut
      • Marie-France Pisier
      • Jean Aurel
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs28

    7,07.9K
    1
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    6
    7
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    9
    10

    Avis à la une

    6planktonrules

    a decent film

    This is the final film about the character, Antoine Doinel. He first appeared in The 400 Blows and you see him in 5 Truffaut films over the years. You see him grow from an emotionally neglected little punk in the first film and by the fifth, he is a Woody Allen-like little guy who has had a long series of troubled relationships that he ultimately sabotaged due to his discomfort with emotional commitment. He has a great time falling in love but soon strays or otherwise causes the relationships to sour.

    The plot and emotional growth of the character is excellent. So why only a 7 for this film? Well, much of the film is simply cut and pasted from the previous Antoine Doinel films. This gave it a certain cheap look. Plus, what I really found inexplicable was that Truffaut used clips from Jean-Pierre Léaud films that were NOT about Doinel but pretended the clips were about him. In addition, clips from some Doinel films were shown but the entire scene is re-dubbed or explained in a way in which the scene did NOT appear in the original film. A good example is a clip from Stolen Kisses. The narrator says he (Doinel) was unlucky in love and followed attractive women because he'd become infatuated with them. However, this scene was actually of Doinel following a lady because he was a private detective in this film--this was NOT someone he was infatuated with. Those who remember this movie well will be shocked at how easy it is to spot this obvious change. Finally, for some odd reason, one of the clips from Stolen Kisses is shown in black and white, while all the others from the movie are in color. It just didn't make sense why this occurred.

    These inconsistencies are not great film-making. Decent film-making, maybe. For a better Truffaut film, try watching The Bride Wore Black (my personal favorite) or Wild Child or The Story of Adele H.
    7claudio_carvalho

    Recollections and Troubled Love Affairs

    Antoine Doinel (Jean-Pierre Léaud) is having a love affair with the vinyl seller Colette Tazzi (Marie-France Pisier). After five years of a troubled marriage with separations, Antoine and Christine Doinel (Claude Jade) have a private audience with the judge (Marie Henriau) and conclude an amicable divorce process. His former sweetheart and presently lawyer Colette Tazzi (Marie-France Pisier) sees Antoine leaving the court and she goes to a bookstore to buy his autobiographical novel that was published a couple of years ago. When Antoine goes with Alphonse (Julien Dubois) to the train station for the travel vacation of his son, he sees Colette in another train and he jumps from the platform to the train and travels with her. They recall their adolescent love and disclose their sentimental relationships; but when Colette tells how she raises money for her self-support, Antoine is disappointed and seeks out Sabine.

    "L'Amour en Fuite" is the conclusion of the sentimental saga of the character Antoine Doinel, the insecure alter ego of François Truffaut that began in "Les Quatre Cents Coups" and followed through "L'Amour à Vingt Ans", "Baisers Volés" and "Domicile Conjugal", inclusive with the use of scenes in the many flashbacks of these movies with his recollections and troubled love affairs. This character has an evolution from the needy fourteen years old boy rejected by his mother and his stepfather in the first movie. The lack of affection at home makes him a rebel, bad student, liar, reckless and a thief stealing objects and money at home in his adolescence. In the next movies, he grows-up, but with a fragile emotional structure and the viewer sees an unstable man incapable of having a steady relationship or commitment with the many beautiful women that he meets along his futile life. My vote is seven.

    Title (Brazil): "O Amor em Fuga" ("The Love on the Run")
    Mikew3001

    A rather unsatisfying end of the Doinel cycle

    This is the fifth and last part of Francois Truffauts Antoine Doinel cycle, a biographical movie series about the growing up of a romantic Parisian, played by Jean Pierre Leaud all the time, and all his struggles with love and life which was produced over a period of 20 years.

    This last part from 1978 shows us Doinel doing what he's also doing in the previous four parts - falling in love with numerous women, trying to keep up relationships, looking for love, flirting etc. While the first part from 1959 showed us Doinel's childhood in a poor family with a hard and beating father and his longing for respect and love, the following parts are less interesting in my opinion.

    The final chapter is rather superfluous, with jokes falling flat, no real script, no suspense or a really interesting story line, and the actors are just running around most of the time. If you have watched the previous Doinel films it might be interesting to see this sequel (which is not really an end), but I suggest you to watch the first Doinel movie "Les 400 coups" ("The 400 Blows") instead, or Truffauts "L'homme qui l'amait les femmes" ("The Man Who Loved Women"), a far more interesting study on love, obsession and fetishism.
    7johntu

    A fun, loving, tender, and satisfying finale.

    True, there are a bit too much flash back in the film (with some lengthy ones,too), but after the previous four Antoine Doinel films, this last installment brings so much sentiment and feeling that is quite unique and unmatched in any other films. Whether Antoine's life will change or not, nobody can tell. The important thing is, he has to face the reality this time. He's no longer young, plus he's a divorced father and struggling writer (what a combination!). Yet as all the people around him changed, Antoine still has the child-like energy and belief in love. That's what makes him so attractive as a protagonist in FIVE films. Truffaut really gave us film lovers a great gift. Too bad that he died in 1984, or we might have a 6th or 7th film on Antoine Doinel!
    7Xstal

    Run Out of Love...

    The spontaneous character Antoine Doinel, continues his journey through his show and tell, divorced from Christine, shacked up with Sabine, pursues long past fancies, but things don't quite gel.

    We continue to observe the trials and tribulations that life presents to the often frustrated Antoine, with multiple flashbacks to previous presentations forming a significant part of the piece, you really need to be a fan of the series in order to appreciate the journey, the saga, the voyage, of the boy become man but still a boy. There's a good chance you can pick out numerous events that may align with your own passage, or from someone you know, which may escalate your appreciation. While an enjoyable piece, it does seem to have run its course, and left with more of a whimper than a whoop.

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    Centres d’intérêt connexes

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    Romance

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The flashback of Liliane and Antoine arguing is, in fact, a clip from La nuit américaine (1973), in which both also played lovers despite the film not being part of Antoine Doinel saga.
    • Gaffes
      According to her grave, Antoine Doinel's Mother, Gilberte, died in 1971. According to the conversation Antoine has with her ex-lover five minutes before, she died in 1968 (while Antoine was in the army, in the beginning of "Baisers Volés").
    • Citations

      [English subtitled version]

      Antoine Doinel: [to Alphonse as he is about to head off to music camp] If you practice hard, you'll be a great musician.

      Alphonse Doinel: What if I don't?

      Antoine Doinel: If you don't, you'll wind up a music critic.

    • Crédits fous
      During the opening credits, when the "Screenplay" ("Scenario de") credit appears on the screen, in the background a faded white "X" appears for a frame; also, there is a clapper on the left-hand side of the screen (for several seconds) before being pulled off screen.
    • Connexions
      Featured in Sneak Previews: A Little Romance, Love on the Run, Dawn of the Dead, Manhattan, Hanover Street, Firepower, Cannibal Girls (1979)
    • Bandes originales
      L'Amour en Fuite
      Music by Laurent Voulzy

      Lyrics by Alain Souchon

      Performed by Alain Souchon

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    FAQ18

    • How long is Love on the Run?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 24 janvier 1979 (France)
    • Pays d’origine
      • France
    • Langue
      • Français
    • Aussi connu sous le nom de
      • Love on the Run
    • Lieux de tournage
      • Rue des Anglais, Paris 5, Paris, France(record shop)
    • Société de production
      • Les Films du Carrosse
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 509 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 11 206 $US
      • 25 avr. 1999
    • Montant brut mondial
      • 509 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 34min(94 min)
    • Couleur
      • Black and White
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 1.66 : 1

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