Baisers volés

After being discharged from the army for insubordination, Antoine Doinel (Jean-Pierre Léaud) visits his former girlfriend Christine Darbon (Claude Jade), and her father finds a temporary job of night watchman for Antoine in a hotel. The naive Antoine is deceived by a private eye in his first night shift, and fired on the next morning. The investigator invites the clumsy Antoine to work in his company, where he is assigned for some minor jobs, until he has to investigate why the owner of a shoes store, Mr. Georges Tabard (Michel Lonsdale), is detested by his employees. Meanwhile Antoine falls in love for the gorgeous Mrs. Fabienne Tabard (Delphine Seyrig).

"Baisers Volés" is a delightful romantic comedy of François Truffault. Using his alter-ego, Antoine Doinel, this movie pictures the romantic and very funny adventures of this character in Paris with prostitutes, with his girlfriend and with his married passion. The soundtrack, with song "Que reste-t-il de nos amours?" of Léo Chauliac, is simply wonderful. This classic story is still charming and not dated almost forty years later. My vote is eight.

Title (Brazil): "Beijos Roubados" ("Stolen Kisses")

The army life just wasn't made for you, after three years of detention they're all through, you're discharged from a shared cell, you get a job in a hotel, you find Christine, who you continue to pursue. A night porter's not the perfect role in truth, but it creates an opportunity to sleuth, as a private detective, you need to keep your perspective, it's a challenge for disoriented youth. As a spy inside a shoe shop you observe, the owners sexy wife you have to serve, there's an age gap but connection, that results in an inspection, forces you to make your next, career move. You get called out, to fix the telly of Christine, it's fair to say that a repair job's not your dream, you don't really have a clue, where you're going, what to do, but there's a chance, you've caught the girl, in your crossbeam.

An often hilarious continuation of Antoine Doinel's life, leaves you reflecting on similar scenarios in your own formative years. Great performances and great direction.

Taking its title from the lyrics of the glorious chanson 'Que reste-t-il de nos amours' of Louis Chauliac and Charles Trenet this gentle, subtle and captivating film must surely rank as one of Truffaut's finest. Actor Jean-Pierre Leaud is not unlike Marmite; one either loves him............ There is no doubting that his portrayal of Truffaut's alter-ego Antoine Doinel is Leaud at his most appealing. I do not really count his performance at the age of fourteen in 'Quatre cent coups' as that is indisputably one of the great child performances on film and Leaud had not yet acquired the mannerisms of adulthood that many find so annoying. In this he plays an aimless dreamer who lands a job in a private detective agency following his 'discharge' from the army. This occupation naturally brings him into contact with some decidedly quirky colleagues and clients notably shoe shop proprietor Tabard who wants to know why none of his staff likes him. He meets the seductive Madame Tabard and gets the sack for mixing business with pleasure. We next see him as a television repairman! The segment with the Tabards is undoubtedly the highlight of the film. Michel Lonsdale is an exceptional actor who never disappoints and is probably most familiar to non-Gallic audiences as the chief investigating officer in 'Day of the Jackal'. What can one say of the divine Delphine Seyrig? One should never make the mistake of confusing actresses with the parts they play but in this she is utterly intoxicating. We also have a tantalising glimpse of Marie-France Pisier who was to feature prominently in the last of the Doinel series 'Love on the Run', to which she contributed the screenplay. Whilst that is probaly the weakest of the lot, made by Truffaut in a desperate attempt to refill the empty coffers, the next episode 'Bed and Breakfast' is very amusing. The film under review is undoubtedly the best of the three 'adult' Doinels. An enchanting piece full of surprises which can be revisited with delight.

Granting for himself a certain allowance for nostalgia, Francois Truffaut set out to continue his Antoine Doinel series with his 1968 film, Stolen Kisses. This time, Truffaut caught up with his alter ego just as he is being discharged from the army, desperately trying to become part of a family, and attempting to build a relationship.

Stolen Kisses would be an interesting departure for Truffaut, as it would represent a deviation from the tightly worked scripts he had used up to that point. After two highly structured screenplays in a row, Truffaut sought a more improvisational take on small events inspired by his own life including his visits to brothels and the end of his military service. The structure of the film was looser than Truffaut had ever used before, but he was more concentrated on who he wanted Antoine Doinel to be. Up until this point, Doinel represented Truffaut almost entirely, in Stolen Kisses though, Truffaut wanted Doinel to be 50% Truffaut and 50% Jean-Pierre Léaud. Jean-Pierre Léaud had brought to the role his unique spirit, expertly bringing Doinel to life in his previous films in the Doinel series, and Truffaut wanted to insert even more of Léaud into the character of Doinel. Inspired by Honoré de Balzac's The Lily of the Valley and a song by a favorite musician, Charles Trenet (Stolen Kisses) Truffaut attempted to create a blend of his own persona and that of the young man he had developed a mentor-like relationship with, collaborator Jean-Pierre Léaud.

Still drawing heavily from his own life, Truffaut began Stolen Kisses with Antoine Doinel being discharged from the military similar to the way Truffaut was discharged. Truffaut was completely humiliated while facing his superiors, each of them knowing he was only being discharged due to Andre Bazin's influence, and although he was desperate to leave the military, he surely could have done without being talked down to in such a way. Being shot with an almost entirely new crew, Stolen Kisses would mark a new endeavor for Truffaut, perhaps that is the reason there was so much nostalgia drizzled throughout the film. Drawing inspiration from Lubitsch and Renoir, Truffaut made a light and comical, yet touching, continuation of Antoine Doinel. Being inspired by a full page ad for a detective agency, which he incorporated into the film as a means for Antoine to discover his new career, Truffaut decided to have Doinel explore the career of a private eye. Truffaut even collaborated with a private eye throughout filming for added realism. Whimsical music opened Stolen Kisses setting the stage for a more lighthearted tone than was present in Antoine and Colette, and certainly, The 400 Blows. In addition to the music being more light and playful, the acting was also much more physical and comedic than I had previously seen in a Truffaut film. Exaggerated gestures and gags reminiscent of silent film canon gave Stolen Kisses a relaxed, yet experimental feel. The rapid cuts and innovative editing techniques proved Truffaut was staying true to the movement he had ushered in.

Even in the lighthearted and comedic moments of Stolen Kisses, it was obvious that Antoine was still searching, desperate to fill an obvious void in his life. Antoine was repeatedly trying with incredible diligence to be accepted into Christine's (Claude Jade) family. Antoine was more intent on being accepted into Christine's family than he was on being accepted by Christine. In one of the dinners that Antoine shared with Christine's parents, he admitted that he did not have a close relationship with his parents. Sensing his need for familial connection, and understanding of their daughter's uncommitted attitude toward Antoine, the Tabard's, Fabienne (Delphine Seyrig) and Georges (Michael Lonsdale) would nurture Antoine in one way or another. Fabienne would often act motherly toward Antoine, often by encouraging him to eat or address his feelings. Georges, too, would help Antoine by finding him work and teaching him how to dress so as to be taken seriously, especially by prospective employers. The love Antoine received from the Tabard's seemed to be exactly what he was searching for, as he desperately wanted to become part of a family. Romantic love also eluded him, as he was unable to gain the courage necessary to express himself to Christine and be honest with her of his desire to take their friendship to another level. Antoine even struggled with the various prostitutes he would attempt sexual relations with, making it clear that Antoine's longing was for much more than carnal urges. Perpetually lost, we see Antoine's immaturity and longing through the funniest moments in the film. Truffaut expertly shows the emasculation of Antoine bookended with lighthearted comedy in order to better feel the multiplicity of Antoine's pain. Not only does Antoine feel like less of a man because of his difficulties with women sexually, but he also feels like less of a person because of his difficulties with maintaining a job and a relationship. This relates back to Antoine's struggle with his parents and his troubled early life. Antoine has traversed most of his life without someone to guide him and without proper examples of how to grow and foster relationships with people. At this stage of his life, Antoine can be guided, like the Tabard's attempt to guide him, but he will not know what to do at each successive step because he has never seen each step play out. Without a model from which to draw inspiration, Antoine is endlessly meandering throughout existence desperate for someone to take the journey with him and help him learn about life along the way. Love is a driving force for Antoine, he longs for the love in adulthood that he was robbed of through childhood. Antoine seems to possess a romantic conviction that love can overcome the tragedy he has experienced, and by finding someone to love and to love him in return he can change his meandering life into one of purpose. Just as Truffaut struggled to shake his own regretful childhood and to develop the strength to give himself in friendships, love, and cinema, we see Antoine attempt to withstand his upbringing by learning how to develop relationships and navigate the working world, a struggle not unknown to any of us.

For the role of Christine Darbon, Truffaut cast a nineteen-year-old actress, Claude Jade, who had impressed him in the stage play Enrico IV. Truffaut had been "completely taken by her beauty, her manners, her kindness, and her joie de vivre." Her polite upbringing and charismatic girl-next-door quality, as far as Truffaut was concerned, made Claude Jade perfect for the role of the pure-hearted Christine who would eventually win Antoine's heart.

As Christine, Claude Jade is as cute as a button and her scenes are often the most charming ones in the film. Her introductory scene, stepping out of the Parisian night appearing like an angel to wave shyly at Antoine through a glass wall, is a delight. Later, Christine attempts to guess Antoine's latest job, amusingly tossing out way-off-the-mark guesses like cab driver or water taster. It is a ticklish scene but also hints that Christine, as of yet, doesn't think so highly of Antoine's employable skills. By the film's end, Antoine has become a TV repairman. He has been holding a grudge against Christine, so she wins him back in a fetching manner. She calls his company for service even as she is removing a component from her TV. The company sends Antoine, who is then forced to stay for hours trying to fix an irreparable TV.

The best romantic scene in the film, however, is a quaint breakfast scene one morning in Christine's kitchen. Christine is busy teaching Antoine how to butter toast. Antoine, for his part, wishes to pose a question to her. Too embarrassed to express himself in words, he writes his question on a notepad instead and hands it to her. She immediately writes her reply and hands it back to him. They continue in this manner for a few more exchanges before Antoine withdraws a scissor from a nearby drawer and hangs it on Christine's ring finger. It is a touching and intimate moment between the two young lovers and communicates, without intrusive words, their affection for one another.