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Topic: Antoine Doinel

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	Compare Prices and Read Reviews on Stolen Kisses at Epinions.com (Site not responding. Last check: 2007-11-04)
		Antoine is thus out of another job – just about the same time that another one of the agency's clients, a hand-wringing, one-gloved neurotic homosexual named Albani (Albert Simono), goes berserk when he is informed that the magician (his former lover) has run off and married (oh horror!!) a woman.
		From ace detective, Antoine moves on to a job as television repairman, which allows the resourceful Christine an opportunity to rekindle their on-again off-again relationship by the expedient of disabling the family's television set when her parents are away for the weekend.
		Antoine is something of a wimpy kind of guy, sincere but not especially competent, with an underdeveloped personality and little understanding of life, yet his main struggle in the film is choosing between two incredibly gorgeous and personable women.
	www.epinions.com /content_165874208388 (2201 words)

	Antoine Doinel - Wikipedia, the free encyclopedia
		Antoine Doinel is a fictional character invented by French film director François Truffaut.
		Doinel is to a certain extent a stand-in, or alter ego, for Truffaut in a number of films.
		Doinel's adventures come to a close in 1979's Love on the Run, where his romantic attentions pass from his wife to Sabine (Dorothée).
	en.wikipedia.org /wiki/Antoine_Doinel (511 words)

	IFC Center
		Antoine's stories -- the ones he acts out in these films as well as the ones he wants to write as a novelist -- are so totally concerned with the processes and emotions of falling in love that he's continually surprised when the affairs are suddenly over.
		Antoine, who is a physical and spiritual projection of Truffaut himself, is a constantly amazed observer and an enthusiastic participant, a fact that gives Stolen Kisses the perspective missing from so many other movies about youth seeking to connect.
		We meet Antoine when he is in his early teens, and living with his mother and stepfather in a crowded walkup where they always seem to be squeezing out of each other's way.
	www.ifccenter.com /event?eventid=999975 (2086 words)

	The Film Journal...Passionate and informed film criticism from an auteurist perspective.
		As Antoine is locked into a holding cell that seems little better than his parents' apartment, and his parents finally deem him incorrigible, we realize that this is how, little by little, a kid falls by the wayside.
		Antoine's luck doesn't seem to have improved though, and the object of his affections is blithely indifferent to his advances.
		In flashbacks we learn that both Christine and Antoine may have (separately) fooled around with a mutual female friend during their marriage (remember, no one's perfect) and that, even after the divorce, there is still a lot of love between the two.
	www.thefilmjournal.com /issue9/antoine.html (1876 words)

	Welcome to the Best of New Orleans! Master Series 07 15 03
		Part of it is the set-up; once Truffaut takes Doinel out of childhood and pushes him further and further into adulthood, the excuses for his bumbling behavior -- his complete lack of vocational skills as a struggling writer, his infidelity to his wife Christine, his denial of his parents -- the less interesting he becomes.
		Doinel is still a loner, a rebel -- the anti-hero as buffoon.
		The adventures of Antoine Doinel is also a story about the hunger to pursue art despite the consequences of that pursuit.
	www.bestofneworleans.com /dispatch/2003-07-15/film_review3.html (1855 words)

	Theme of The 400 Blows (Site not responding. Last check: 2007-11-04)
		Antoine's punishments get more severe as the film continues until he is finally placed in a home for juvenile delinquents.
		Yet, for Antoine to be punished, those in power have to consider Antoine guilty of crimes, but, for the audience, whatever Antoine's crimes are—real or perceived—they never seem to merit the punishment he receives.
		That Antoine's punishments are more severe than his "crimes" suggests that Truffaut's "protest," as Klein puts it, is against the social institutions, such as family and school, that mete out punishments for minute transgressions and seek to repress the normal impulses of youth.
	www.cod.edu /people/faculty/pruter/film/400blows.htm (620 words)

	Stolen Kisses
		Private detective Doinel is hired as a "periscope" to work in the store and observe if any employees are speaking ill of the owner, who is convinced that everyone dislikes him.
		It can be found in offhand comments, such as Doinel telling Christine that the reason he rarely wrote to her during his military stint is that he was usually in prison or the hospital.
		Because the agency specializes in cases of infidelity and adultery, there is a bittersweet interplay between the quiet desperation of the clients who come through the door and the harried investigators who are preoccupied with their own miseries or are themselves entangled in romantic intrigues.
	www.culturevulture.net /Movies/StolenKisses.htm (966 words)

	dOc DVD Review: The Adventures of Antoine Doinel (The 400 Blows / Antoine & Colette / Stolen Kisses / Bed & Board / ...
		Antoine, like so many of his generation, is expected to be seen and not heard when his working class parents finally arrive home.
		Antoine is temporarily sidetracked in the fashion of Benjamin Braddock (released a year earlier) by Fabienne (Seyrig), the wife of his client, M. Tobard (Lonsdale).
		Doinel's last lover, will call on Antoine and help to explain a mother's conflicted motivations toward her son; Christine and Colette will meet, both on their way to persuade Sabine to reconcile with Antoine, for whom they each still have great affection.
	www.digitallyobsessed.com /showreview.php3?ID=4621 (5550 words)

	The Cinematic World
		As Antoine Doinel, his rise from pre-pubescent adolescent to fully grown man across five Francois Truffaut films between 1959 and 1979 is chronicled in a luxurious five DVD set from the Criterion Collection.
		Antoine moving to live opposite Colette's family is a positive step, but Colette later resists his advances in the cinema, anticipating the failure of their relationship.
		Antoine shows his impetuous side and 'awkward charms' (Roud, 1980: 1011) as he leaves the prostitute after she repels his advances and later abandons Madame Tabard in a display of nervous terror, but he does ultimately find love with Christine -- this love emerging in a spontaneous yet clumsy display of passion in the cellar.
	www.angelfire.com /film/richlive/Cinema.html (14402 words)

	Barnes & Noble.com - DVD, Movie, Video: The Adventures of Antoine Doinel, François Truffaut, DVD, Wide ...
		François Truffaut did not conceive Antoine Doinel, the French auteur's rascally onscreen alter ego, to be a recurring character.
		Antoine returned in Antoine and Collette, a short that was part of the 1962 omnibus film Love at Twenty.
		Antoine and Christine have married in Bed and Board (1970), but he suddenly becomes obsessed with a young Japanese woman (Hiroku Berghauer).
	video.barnesandnoble.com /search/product.asp?EAN=715515013529 (462 words)

	Jean-Pierre Leaud: Unbearable Lightness
		(3) She is characterising the events of Doinel's life: odd jobs, anxious encounters with women, marriage and a child, the breakdown of the marriage, the publication of a book, the hope of a new relationship finally affirmed.
		Antoine, having escaped from the reform school during a football match, runs through the countryside towards the sea, the sea he has never set eyes on before, into the shallows, then turns, faces the camera, freeze-frame.
		The later Doinel films, revisited, are neither as charming or as disappointing as they might have seemed at the time: there is a considerable anxiety and uncertainty running through them, a more self-conscious embrace of solitude and its disappointments, comic absurdity and its compulsions.
	www.sensesofcinema.com /contents/00/8/lightness.html (4142 words)

	SacTicket // DVD/Video
		Doinel is now 17, living alone in a tiny apartment and working in a record manufacturing factory, which befits his love for classical music.
		By the time Truffaut reached his early 20s, he was already a well-known and ambitious film critic, while Antoine is a scattered, somewhat immature young man bouncing from job to job (night clerk in a hotel, operative at a private detective agency, television repairman).
		Maybe Antoine never could fully overcome his childhood, and perhaps his relationships with women would forever be scarred by his disappointing relationship with his mother.
	www.sacticket.com /static/movies/dvd_video/truffaut.html (1289 words)

	TIME.com: Stolen Kisses -- Apr. 23, 1979 -- Page 1 (Site not responding. Last check: 2007-11-04)
		Antoine will badger, beg and lie to win a woman's affection, only to discover over and over that his hunger is not satiated by each new conquest.
		Antoine may be a child, but there is nothing childish about the films in which he appears.
		Antoine's plot for a new novel turns out to be a major clue to his recent behavior.
	www.time.com /time/magazine/article/0,9171,920276,00.html (827 words)

	Francois Truffaut
		Francois Truffaut's first feature was this 1959 portrait of Antoine Doinel (Jean-Pierre Léaud), a boy who turns to petty crime in the face of neglect at home and hard times at a reform school.
		Doinel is again played by Jean-Pierre Léaud as a bad boy whose own obsessions with his mother greatly affect his relationships with women.
		Lovesick Doinel woos the perky but unresponsive object of his affections, Christine (Claude Jade) while he engages in a series of professions--hotel night watchman, private investigator, TV repairman--with mixed success and comic entanglements.
	www.francoistruffaut.com /films.html (3740 words)

	DVD.net : The 400 Blows - DVD Review
		Doinel is at odds with the world - with his teachers, with his mother and stepfather, with almost everybody except his best friend.
		Antoine Doinel is, for most of the movie, trapped in a society which he cannot understand, and which totally fails to understand him.
		There is one wonderful and extraordinarily emotional moment of freedom, at the close of the movie, as he escapes from his reform school and runs, with that special youthful fleetness, through the countryside and down to the sea.
	www.dvd.net.au /review.cgi?review_id=3142 (1196 words)

	Amour en fuite, L' (1979) (Site not responding. Last check: 2007-11-04)
		According to the conversation Antoine has with her ex-lover five minutes before, she died in 1968 (while Antoine was in the army, in the beginning of "Baisers Volés") (more)
		The finest parts of "Love on the Run" are the inserted clips of the original Antoine Doinel film "Les Quatre Cent Coups", rather self-defeating in a way as they only serve to show up the shallowness of the film we are watching.
		They are supposedly semi-autobiographical with Antoine Doinel Truffaut's alter ego.
	www.imdb.com /title/tt0078771 (494 words)

	Baisers volés/Stolen Kisses
		Antoine waves, smiles and encourages her to enter with a tilt of his head.
		Antoine's path to marriage and maturity might appear overly sentimental were it not for the underlying sadness running throughout the film, particularly its frank discussion of death.
		On Antoine's first assignment, a fellow detective tells Antoine of his grandfather's passing and explains that, “Making love is a way of compensating for death.
	www.sensesofcinema.com /contents/cteq/04/baisers_voles.html (1768 words)

	BinaryFlix.com
		We enter Antoine’s life once again in Antoine et Colette, where once again the pain of the world crashes down on the young lad as he falls in love and ultimately gets his heart broken.
		Finally in Love on the Run, Antoine is divorced from Christine and once again in lovebut always the adolescent at heart, his not-so-chance meeting with former love Colette throws him into another loop that forces him to face his past and figure out what life is all about.
		Antoine’s troubled past seems to be a key element film to film, and is acted out brilliantly by the Truffaut favorite Jean-Pierre Leaud.
	www.binaryflix.com /movie.asp?ID=1545 (830 words)

	Adventures of Antoine Doinel [5 Discs] (Site not responding. Last check: 2007-11-04)
		Antoine finds work as a florist painting roses, while Christine makes a living by teaching violin lessons.
		The fifth and final Antoine Doniel film L'Amour en fuite was released in 1979, picking up the story with Antoine after he reaches his thirties.
		The scene where Antoine meets his father-in-law in a brothel hallway is treated tenderly, but still has a sobering effect.
	www.outpost.com /template/amg/16538 (438 words)

	Antoine and Colette - Wikipedia, the free encyclopedia
		Antoine and Colette (French title: Antoine et Colette) is the second film — a short — in François Truffaut's series about Antoine Doinel, the character he follows from boyhood to adulthood through five films.
		Antoine Doinel — and Jean-Pierre Léaud, the actor who played him throughout all five films — had made his screen debut in 1959 with Truffaut's first film, Les Quatre Cents Coups (The 400 Blows).
		Truffaut's tender, semi-autobiographical film about the young Antoine and his gradual descent into petty crime introduced the world to the French New Wave, a short-lived but highly influtential outpouring of work from young French filmmakers including Jean-Luc Godard, Claude Chabrol, and Éric Rohmer.
	en.wikipedia.org /wiki/Antoine_and_Colette (323 words)

	The 400 Blows (Site not responding. Last check: 2007-11-04)
		Antoine Doinel (Jean-Pierre Leaud) is a 13-year-old boy who can't seem to do anything right.
		Rene Simonet (Patrick Auffray) is Antoine's one pal, and the unspoken dialogues between the boys, depicted by Truffaut through the boys' facial expressions and with masterful roving photography, allow the viewer to see through Antoine's eyes and understand his unflinching tenacity.
		Essentially the start of the French New Wave movement, THE 400 BLOWS is also the beginning of Truffaut's Antoine Doinel cycle, which follows Leaud as Antoine in four additional films over the course of 20 years.
	www.allocine.co.uk /film/fichefilm_gen_cfilm=62178.html (344 words)

	The Criterion Collection: 400 Blows, The
		Told through the eyes of Truffaut’s life-long cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows sensitively recreates the trials of Truffaut’s own difficult childhood, unsentimentally portraying aloof parents, oppressive teachers, petty crime, and a friendship that would last a lifetime.
		Originally appearing in the international omnibus film Love at Twenty, this nimble short subject is classic Truffaut, depicting a teenage Doinel (Jean-Pierre Léaud) living on his own and pursuing his first love affair, initiating a lifelong career of quixotic dreams and amorous restlessness.
		Antoine and Colette is presented in its original theatrical aspect ratio of 2.35:1.
	www.criterionco.com /asp/release.asp?id=5 (423 words)

	DeliciousWeb item
		Truffaut's first feature was f0i The 400 Blows 0 (1959), in which Doinel is a boy who turns to petty crime in the face of neglect at home and hard times at a reform school.
		Poignant, exhilarating, and fun (there's a parade of cameo appearances from some of the essential icons and directors from the movement), this film is an important classic. The second film to feature Doinel, "Antoine and Collette" (1962) was originally made for the omnibus film f0i Love at Twenty 0 but has outlived its companion shorts.
		However, he tempers the giddy screwball kookiness with a less forgiving disposition toward Antoine's passionate irresponsibility and emotional impulsiveness. f0i Love on the Run 0 (1979) was Truffaut's last film in the series.
	homepage.mac.com /slay1975/DeLibrary/pages/movie173.html (457 words)

	Antoine et Colette / L’Amour à vingt ans / 1962 / film review / Francois Truffaut / François Truffaut
		Now aged 17, Antoine Doinel works in a factory which makes records.
		Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend...
		It represents Truffaut’s first attempt to re-use the character Antoine Doinel, which he created in his earlier, semi-autobiographical film, Les Quatre cents coups.
	frenchfilms.topcities.com /nf_Antoine_et_Colette_rev.html (323 words)

	French 389A: French Film
		Antoine's arrest based in great detail on The Wrong Man; in both the sense of shock is due to excessive police action
		The danger is one of denial (as Antoine is eventually denied by his mother) or exhaustion [...] The alternative–at least for Truffaut–is to find a way of life which allows for repetition, as children 'repeat' and hence 'replace' their parents, without falling prey to mechanical regimentation or cynical bitterness.
		It is Madame Doinel's bitterness toward her own past, toward her son, which is most directly responsible for Antoine's delinquency and exile.
	web.uvic.ca /french/courses/french389a/films-blows.htm (565 words)

	The Four Hundred Blows (1959) review by Groucho
		Antoine is a complex character, so complex that he cannot be fully understood.
		His attitude is a perfect reflection of the confusion of teenage years, especially in such a complicated life as the one Antoine lives.
		Such scenes as Antoine behind bars, and the final one at the beach, are truly shattering, and have become classics on their own.
	www.criticsociety.com /review.asp?id=1204 (398 words)

	Amour à vingt ans, L' (1962) (Site not responding. Last check: 2007-11-04)
		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.
	imdb.com /title/tt0055747 (407 words)

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