Antoine e Colette

Though not as beautiful in it's direction as 400 Blows, I slightly prefer this short but wonderful continuation of Antoine Doinel's life. It's more concise, captures a part of life that is rarely well portrayed (as opposed to the dozens of great films about childhood) and has a wonderful musicality in it's editing as showcased by the show stealing (pun intended) moment when Antoine first sees Colette.

I have been looking for a copy of "Stolen Kisses" for some time, and so I was glad I finally found it--or thought I'd found it. While my sole reason for wanting to see it was to see the Truffaut segment featuring the character "Antoine Doinel", I was VERY surprised to see a DVD with ONLY this 30 minute portion from the movie on it--along with a Truffaut short, Les Mistons! What about the segments from Love At Twenty by Ophuls and the other directors? They were nowhere to be seen on the FOX/Lorber DVD! The same can be said about the DVD extra for "The 400 Blows"--it has the Doinel short but none of the rest of the film. Quel dommage!

Now, in regard to the Antoine Doinel segment, I was VERY glad I saw it, as it was the most interesting and endearing I ever saw the character. Doinel appeared in several other Truffaut full-length films and this small segment was the final one I needed to see to complete them. It was lighter in tone and "cute" compared to the other incarnations--much lighter than 400 blows or the other films that have a more wistful edge to them. You see a hopeful Doinel just reaching adulthood--a decent guy--just REALLY awkward with the ladies.

Antoine and Colette (1962)

*** 1/2 (out of 4)

This 30-minute short from Francois Truffaut was originally a part of the anthology film LOVE AT TWENTY but it got its own release since many considered it the stand out entry. It also serves as a sequel to THE 400 BLOWS as Antoine Doinel (Jean-Pierre Leaud) is now out of trouble, living and working and soon he finds himself falling for a woman named Colette (Marie-France Pisier). At first Antoine believes that the two are starting a good relationship but before long it's clear that the woman has a different mind set. I guess the simplest thing to say is that the ladies in France aren't much different than the ones in America when it comes to confusing a young man and breaking his heart. I really thought this was an extremely good film and a worthy follow-up to THE 400 BLOWS, which by many, not myself, think is the director's masterpiece. I really liked how Truffaut didn't just give us the same type of story and instead of the tense drama he treated us to quite a few sweet scenes that have a touch of bittersweetness to them. I think most adults watching this are going to realize what's going on with the "relationship" but the film also takes you back to the days of youth when being naive was just part of the game. Both Leaud and Pisier are excellent together and the two of them really shine in regards to their performances. The cinematography is excellent as you'd expect and there's no doubt that Truffaut handles the material with care.

Truffaut made his grand entry into full length cinema at the young age of 28 with the classic masterpiece 400 Blows which is a semi-autobiographical tale of his childhood. Then, he went on to make three other movies in which he experimented with some humour(Tire-au-flanc 62 and Tirez sur le pianist) and then with crazy love (in Jules & Jim).

But all the while, he felt like he hadnt said enough about the story of Antoine in 400 Blows - that film ends quite enigmatically, leaving the viewer wondering how that kid turned out. So, Truffaut decides to make the short-film 'Anotine & Collette' to pacify the eager fans with news of Antoine, that he's OK, he's alive, he's now a young adult, independent, working at Phillips making records to earn his living and not stealing typewriters and the like. Maybe he had always this concept in mind - to use the same actor for the role of the same character which is why he had to patiently wait for Jean-Pierre Leaud to age, to play the role of Antoine.

And if you've loved/liked the 400 Blows, then you must also surely remember his best-friend René, the guy who Antoine stays with after being expelled from school, to play poker, drink wine and smoke cigars. He has a small role to play in this film too - they're still good friends, talking about the good old times (scenes from the 400 Blows) And, he is still played by the same actor, Patrick Auffay, which shows a kind of progression, a continuation. Well, René was always the more confident and self-assured person, with loads of money to help, so he gets along well in life, has a good relationship going with a girl, which is expressed in those few scenes where they compare their 'amours' and René gives advice to Antoine to progress from 'the chase' to 'the attack' and get the girl.

But Collette does not have any interest in Antoine despite all his attempts to woo her with regular visits, concert-dates, and other 'moves' which i wont disclose. Antoine even follows René's strategy of writing letters, but that doesn't seem to work either. Now, once again the viewer is left in the middle of a stage in Antoine's life. What will become of Antoine, will he get to be with Collette, or will he get over her, will he find somebody new and will he actually succeed with this somebody new??? Stay tuned to the same Truffaut-channel, Antoine Doinel-time, for, about six years hence, will come Baisers Volés!

(TRIVIA - Collette played by Marie-France Pisier, makes a reappearance in Amour en Fuite, the last film in the series)

Lastly, the song, 'Love at Twenty' played at the end with those scenes in different parts of Paris, along the Seine, in the parks, and on the streets, is just beautiful!!

"It could end badly, or it could end well... ...but thats Love at the age of Twenty!"

Or, Antoine finds out the hard way that it's really really important to read some of the signs that are there with a young woman who isn't reciprocating a kiss or even the holding of hands. He isn't actually quite so sympathetic as he is in the 400 Blows, but maybe the mid teenage years are just the absolute worst for someone who in partucular didn't have any guidance or role models when it came to a proper relationship - though we don't get it in a flashback here, remember how the only affection Antoine saw in his youth was happening to see his mother with another man making out on the streets - and his old buddy Rene isn't much help in the ways of romance or earning a woman's affections.

If there's anything that may make us go "ah no don't do that merde" in a kind of awkward way that shows his ignorance less than maliciousness, it's when he rents the space right across the street from her. What may still endear us to Antoine is that he realizes that he's all kinds of screwed up in reading the signs (ie the scene at the movie theater), and then that gut punch at the final dinner. Not to mention that all through this Leaud is still a compelling and sorrowful little force here, channeling a fine line between innocent and too much with his records and his fascination with Collette.

It's a short so we can only get so much, but it's like a bittersweet slice off of a piece of fruit to chew on before we get to the next Doinel (mis)adventure - the sweetness, lastly to note, coming from all that classical music that was so big with the youth then (oh, Antoine just wait till she meets the Beatles, but I digress). 7.5/10.