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This is primarily Leaud's film so the other actors were only present to support our perceptions of the character, so I would leave my critique for the other actors in my second viewing of the film. My French watch list. 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. Drawing inspiration from Lubitsch and Renoir, Truffaut made a light and comical, yet touching, continuation of Antoine Doinel. All of the films in the Antoine Doinel cycle are brilliant even the half-baked "Love On The Run" is still quite enjoyable. What movie was he watching??? This comes from a man who thinks that "Teenage Caveman" is a better movie than "Blade Runner". Which brings me to the acting. A more stunning film creature scarcely exists.

  • Across five wistful films, an alter ego grows older without growing up

  • in the normal development of children, including Antoine Doinel (, ). In an early scene, the child inspects his image in a mirror, not understanding.

    Antoine Doinel is like a frustrating but lovable childhood friend: he makes so The film's most famous scene is Antoine in front of a mirror.

    Across five wistful films, an alter ego grows older without growing up

    Antoine Doinel was never meant to be just Truffaut, but Leaud as well. as Antoine confirms his identity by manically reciting his name in a mirror, displaying his.
    Nothing is as aggravating to me as squandered talent.

    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. Best thing in the film is the elegant Delphine Seyrig, playing Fabienne Tabbard, a sophisticated seductress that captures Antoine's vivid imagination. A bittersweet opening to the followup "Bed And Board".

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    He becomes a night- watchman at a hotel which lasts one night because he was blagged by a private detective. He starts as night watchman, something ridiculous happens and then he's out of work.

    She immediately writes her reply and hands it back to him.


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    images antoine doinel miroir mp60

    The Best Films Ever Made - His persona is different from The Blows where we felt that he might end up being a petty criminal lost in some underclass. It amazes me that everybody watch "The Blows", love the film but doesn't have interest in following all the other adventures of Antoine Doinel or people seem to lose track of just five films but prefer to watch all James Bond films. Stolen Kisses is a delightful film from Truffaut that definitely would have benefited me if I have seen the films that preceded it.

    Antoine haphazzardly begins to go through jobs, trying to find his nitch in life, while being obsessed with love. This is the worst sequel I have ever seen.

    They might end up in a very different place from where they started, but the Antoine Doinel chronicles remain fiercely alive.

    With each new.
    This is an odd movie--not bad, but rather odd. I didn't need to see him adrift in his 20s with no charisma, and making friends with the parents of girls who won't date him.

    Video: Antoine doinel miroir mp60 Antoine Doinel

    Every character is immersed in a love triangle. It's a tepid work.

    Watching this film makes you understand what Truffaut thinks about himself, and the 'family-business'of movie making.


    Antoine doinel miroir mp60
    I fear that I will be exposed as a Philistine. Truffaut doesn't romanticize the relationship though; he keeps it highly respectable but still retains that sense of quirkiness, which I also found in the previous film I have seen from the director, Jules and Jim.

    This is the main reason why I felt kind of slightly detached with the character and not comprehensively understand the intentions that Truffaut was trying to push with this film. He goes through a number of professions, all of which are completely captivating in their interest to us the audience and Antoine himself. Exaggerated gestures and gags reminiscent of silent film canon gave Stolen Kisses a relaxed, yet experimental feel.

    Over the course of The Blowsit emerges that Antoine has an affinity for not only underhanded rebellion but also some of the finer things in life. The film also has a theme, about the differing strengths of love.


    I cannot imagine, given Truffaut's own comments about film, where he imagined the merit of this was.

    Watching this film makes you understand what Truffaut thinks about himself, and the 'family-business'of movie making. All of the films in the Antoine Doinel cycle are brilliant even the half-baked "Love On The Run" is still quite enjoyable. And Truffaut, the "great director", occasionally offers us scenes that are, for want of a better word, "off". Some might say that this film is less revolutionary than his nouvelle vague stuff, but this film is much more effective and up-to-date.

    I loved watching him attempting to succeed in areas that are clearly not meant for him, and at the same time watch him becoming distracted by the women in his life, and how they affect his "career".


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    Perhaps I wasn't meant to view this two days after falling in love with The Blows; as nine years actually expire between the two films.

    It would have been inconceivable to think anyone else but Jean-Pierre Leaud, the original Antoine of a few years before, not playing him again. Truffaut, who came of age during the Nazi occupation of Paris, might have transposed the action to the present-day s and condensed it over a tight time frame, but the scenario nevertheless very closely mirrors the events of his own childhood: the inattentive and questionably loving parents, the penchant for cutting class and petty crime, and the woeful stint in juvenile detention.

    Share This Story. He has been holding a grudge against Christine, so she wins him back in a fetching manner. And asks the question, "Does love really ever exist on an equal basis?

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