Stolen Kisses

Stolen Kisses (for me) has got to be one the most beautiful film ever made. All of the films in the Antoine Doinel cycle are brilliant (even the half-baked "Love On The Run" is still quite enjoyable). But "Stolen Kisses" hits a spot, which films seem to never hit. It captures an age of awkwardness that seems to be ignored...the early twenties. Not like a typical high school or after college film (ie: "Risky Business" or "Graduate"), "Stolen Kisses" is about learning the survival skills to make it to adulthood (whether it's keeping a job, or making it in love). Antoine Doinel is in the third cycle of the series ("400 Blows" and "Love At Twenty/ Antoine And Collette" being it's predecessor), and Antoine has just been dishonourably discharged from the army for being of unstable character. Antoine haphazzardly begins to go through jobs, trying to find his nitch in life, while being obsessed with love. He begins as a nightwatchman of a hotel, to being a private detective of Blady's, which puts him as a planted spy in Monsieur Tobard's Shoe Shop, and finally settling down as an accident prone TV Repair man. Antoine is the awkward anti-hero youth of the sixties. During the 68' Paris riots (which were unbelievably carrying on during the filming), the youth of France had a sort of displaced position in the work force. Antoine (superbly played by Jean-Pierre Leaud) typlifies this kind of youth. He is full of nervous energy, politically working class, is love lorn, and uneducated. He is full of human qualities that are real and relateable. He lies, he loves, he fails, and he succeeds. He is just as much as the "everyman" of France, as Jimmy Stewart was in America. But interestingly, where he has once resembled director Francois Truffaut in the earlier works, he now was metamorphasising into Jean-Pierre Leaud's character, but resembling Truffaut more in look. Antoine Doinel was never meant to be just Truffaut, but Leaud as well. And the confusion of this identity is brilliantly displayed as Antoine confirms his identity by manically reciting his name in a mirror, displaying his search for identity to the point of near madness. The beautiful Clade Jade gives an underated performance as the hip, bourgoise student, that makes Antoine's obsessiveness seem somehow justified. The girl that is loved best by Antoine, when out of reach. The film also has a theme, about the differing strengths of love. When Antoine is in love with Christine, she doesn't love him. When Antoine loves Fabienne (the shoe shop's owner's wife), Christine is in love with Antoine. Every character is immersed in a love triangle. And asks the question, "Does love really ever exist on an equal basis?" But aside from the romantic cynicism, also lays some of the most romantic cinematic moments in history. The scene in which we follow up the stairs to find Antoine and Christine laying in bed peacefully, and the morning after, where Antoine purposes to Christne (with what looks like a fancy spoon or bottle opener, taking the place of a real ring?) is one of the most poetic moments in film history. The music score is fantastic as well as the cinematography gentle and sweet. For some, the ending is somewhat confusing and abrupt. But only shows, that the man that now stalks Christine with such passion, is now looked at by Antoine as resembling his once passionate feelings for her, that no longer burn with the same intensity. A bittersweet opening to the followup "Bed And Board". This film is a classic on all accounts!!! A must see, and my favourite film of ALL TIME!!! I rate it a 15 out of 10!!!

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.

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")

"Stolen Kisses" is about Antoine Doinel (Jean-Pierre Leaud, in an exquisite performance), part of a three-film cycle about this young man who is trying to figure out life, love, and where and with whom he belongs.

In the beginning of the film, Antoine is dishonorably discharged from the army and thus his job hunt begins. He's really not very good as a gift-wrapper, or as the night watchman at a hotel, or as a private detective. The detective job takes up most of the film. He is dispatched to work undercover in a shoe shop to find out why nobody likes the boss. He falls head over heels for the boss' stunningly beautiful wife Fabienne. We also see Antoine dealing with his on-again, off-again relationship with his girlfriend Christine, who wants him when he doesn't want her, and vice versa.

Accompanied by a beautiful music score and set in '60s Paris, "Stolen Kisses" is a whimsical, sometimes cynical film about different levels of love (often existing in one relationship), the search for self, and for loving the unattainable. The follow-up is "Bed and Board."

This is absolutely my favourite Truffaut film. Being a film which is based on real events in Truffaut's life (like most of his films), this film shows who Truffaut liked to be (looked at). The charismatic Jean-Pierre Léaud completes this image perfectly. The wonderful soundtrack makes it even better.

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. It is the funniest and most interesting part of the Doinel-series, which, sadly, had to be finished with the worthless L'amour en fuite.

Watching this film makes you understand what Truffaut thinks about himself, and the 'family-business'of movie making. Watching this film combined with La nuit Américaine, and you'll know what Truffaut really is about. This film steals more than your kisses. It might steal you heart.