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Antoine and Colette (1962)
"Antoine et Colette" (original title)

 -  Short | Comedy | Drama
7.7
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Ratings: 7.7/10 from 1,462 users  
Reviews: 8 user | 15 critic

This short film is the first segment of five in the multinational feature Love at Twenty (1962), all five segments on the theme of first adult love. After indulging in much delinquency in ... See full summary »

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Title: Antoine and Colette (1962)

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Cast

Credited cast:
...
...
Rest of cast listed alphabetically:
Jean-François Adam ...
Albert Tazzi
Patrick Auffay ...
René
François Darbon ...
Colette's Stepfather
Pierre Schaeffer ...
Himself
Rosy Varte ...
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Storyline

This short film is the first segment of five in the multinational feature Love at Twenty (1962), all five segments on the theme of first adult love. After indulging in much delinquency in his youth, seventeen year old Antoine Doinel, having been provided opportunity to get out of that delinquent life, is now an upstanding member of society working for Philips Records, which allows him to indulge in his love of music. At the Youth Concerts, he has noticed the same young woman at several performances, she who he would like to get to know. She is Colette, the two who do begin to date. Colette treats Antoine like a buddy, while Antoine has fallen in love with her. His pursuit of getting Colette to be his exclusive girlfriend is helped on the surface in the fact that Colette's parents like him and encourage their dating. He uses grand romantic gestures to try and prove his love. Will Colette ultimately fall under Antoine's romanticism? Written by Huggo

Plot Summary | Add Synopsis

Plot Keywords:

love | parents | record | concert | musicology | See more »

Genres:

Short | Comedy | Drama

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Antoine and Colette  »

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2.35 : 1
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Connections

Follows The 400 Blows (1959) See more »

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User Reviews

 
Another Truffaut Piece of Dry Sentimentality
18 August 2008 | by (Cincinnati, OH, United States) – See all my reviews

Truffaut's short film, made to pacify the curiosity eager fans of The 400 Blows as to the continuation of the lives of its disadvantaged characters, carries the same dry lack of emotion and still distances itself from us despite all its observation of and sympathy for the growing pains of Antoine Doinel. Though it is perhaps good that there is a distance kept because of its logical understanding of Antoine's experiences which leave him confused and painfully humbled.

Jean-Pierre Leaud, who played Antoine in The 400 Blows, experiences the seemingly apocalyptic feeling of rejection, as Collette, the fixed object of his desire, has no interest in him regardless of all his efforts to entice her with frequent stopovers, invitations to concerts, and other woos. He even follows his self-assured friend's approach of writing letters, but with what appears to be no avail. Just as with The 400 Blows, we are left to ponder this perplexing phase in this character's life, causing us to reflect on our own painful memories of growing pains and the humility and self-doubt that accompanies it.


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