{"id":7174,"date":"2018-07-06T21:01:28","date_gmt":"2018-07-07T04:01:28","guid":{"rendered":"https:\/\/travelingboy.com\/travel\/?p=7174"},"modified":"2018-09-25T19:13:04","modified_gmt":"2018-09-26T02:13:04","slug":"francois-truffauts-stolen-kisses-a-look-back","status":"publish","type":"post","link":"https:\/\/travelingboy.com\/travel\/francois-truffauts-stolen-kisses-a-look-back\/","title":{"rendered":"Fran\u00e7ois Truffaut\u2019s \u201cStolen Kisses\u201d \u2013 A Look Back"},"content":{"rendered":"

\"StolenDirected by<\/strong>:
\nFran\u00e7ois Truffaut<\/a><\/p>\n

Writing Credits<\/strong>:<\/p>\n

Fran\u00e7ois Truffaut<\/a> … (scenario and dialogue) and<\/p>\n

Claude de Givray<\/a>\u00a0\u00a0\u00a0 … (scenario and dialogue) and<\/p>\n

Bernard Revon<\/a>\u00a0\u00a0\u00a0 … (scenario and dialogue)<\/p>\n

Music by<\/strong>
\nAntoine Duhamel<\/a><\/p>\n

Cinematography by<\/strong>
\nDenys Clerval<\/a><\/p>\n

Film Editing by<\/strong>
\nAgn\u00e8s Guillemot<\/a><\/p>\n

Script Girl<\/strong>:
\nSuzanne Schiffman<\/a><\/p>\n

Cast<\/strong>:
\nJean-Pierre L\u00e9aud<\/a>, Delphine Seyrig<\/a>,\u00a0Claude Jade<\/a>,\u00a0Michael Lonsdale<\/a><\/p>\n

Fran\u00e7ois Truffaut\u2019s \u201cStolen Kisses\u201d\u2013 A Look Back<\/h1>\n

By Walt Mundkowsky<\/em><\/p>\n

\"Stolen<\/p>\n

In The 400 Blows<\/em><\/strong> Truffaut introduced Antoine, a 12-year-old at odds with the world in which he found himself. Antoine lost his girlfriend to an older and more masterful rival in the opening segment of Love at Twenty<\/em><\/strong>. Now, after two failures (not only of execution), Truffaut has returned to that character, but Stolen Kisses<\/em><\/strong> does not mark a reprise of his most confident style: The unsticky humor and precise observation are gone, replaced with suffocating \u201ccharm\u201d \u2014 a vapid title song, numerous lapses into Lelouch-type romanticism, every sort of winking at the audience.<\/p>\n

\"Director<\/p>\n

After the opening titles, the camera swoops down from a picturesque long-shot view of Paris to zoom in on a window of a military jail. Inside, Pvt. Antoine Doinel (played as before by Jean-Pierre L\u00e9aud) is being kicked out of the army only a few months after enlisting. (\u201cSome men are hopeless,\u201d his commanding officer tells him. \u201cThey just clutter up the army.\u201d) After his discharge Antoine goes to see Christine, his girl, but she isn\u2019t home; her parents get him a job as night porter at a hotel, where he is promptly fired. He joins a private detective agency, exhibiting the same knack for disaster. (\u201cI don\u2019t know what to do with you. You\u2019re certainly willing, but you discourage me,\u201d his boss says.)<\/p>\n

\"Claude<\/p>\n

One day a businessman named Mr. Tabard (Michel Lonsdale) comes in with an unusual request \u2014 \u201cWell, nobody loves me and I want to know why \u2026 I feel that I\u2019m despised, but I don\u2019t know by whom. I can feel it all around me \u2026 my wife laughs all the time \u2014 except when I tell a joke.\u201d Antoine is installed in Tabard\u2019s shoe store to find out what his employees think of their boss. After the store is closed Antoine sees Tabard\u2019s wife Fabienne (the beautiful Delphine Seyrig) trying on a pair of shoes. She asks him, \u201cWhat do you think of these? Too shiny for the dress?\u201d He falls for her instantly, and reports, \u201cShe\u2019s superb, a little vague and very gentle\u201d; her face is \u201ca perfect oval, slightly triangular \u2026 luminous skin!\u201d Christine is forgotten. \u201cWhat do you mean, hounding me at the store?\u201d he snarls at her when she stops by to ask why he hasn\u2019t been seeing her. \u201cThere\u2019s no reason to be nasty,\u201d Christine replies, hurt.<\/p>\n

\"Delphine<\/p>\n

But catastrophe is never far behind. Left alone with Mrs. Tabard, an epic case of nerves overtakes him. She plays a record \u2014 \u201cDo you like music, Antoine?\u201d \u201cYes, sir,\u201d he gravely answers, and dashes out of the room. When he goes home later, he finds a gift and an understanding letter she has left. Antoine writes to her, and as we hear him reading his letter the camera follows its progress \u2014 tracking along underground tubes, flicking from one street sign to the next. Fabienne opens the letter and the camera pans slowly across a street, tilting up for a zoom-in on Antoine\u2019s window; the image freezes. Fabienne goes to Antoine with an offer \u2014 \u201cI\u2019ll come close to you now \u2026 we\u2019ll spend a few hours together \u2026 and no matter what happens we\u2019ll never see each other again.\u201d<\/p>\n

Antoine crashes into Christine\u2019s father\u2019s car; he is now a TV repairman. Christine\u2019s parents leave for the weekend; she sabotages the TV set and phones for Antoine. He is cool when he arrives, but his resistance is understandably brief. Truffaut\u2019s camera moves past TV parts scattered on the floor, past Antoine\u2019s work timer, and tracks slowly up the stairs, finally coming to rest on the young lovers asleep in bed.<\/p>\n

\"Claude<\/p>\n

The next morning Christine and Antoine go for a walk. They are confronted by a mysterious stranger who has been following her throughout the picture, to the accompaniment of a throbbing bass. \u201cI know I\u2019m not unknown to you,\u201d he begins. He has come to confess his undying love: \u201cWe\u2019ll never leave each other, not for a single hour \u2026 you will be my sole preoccupation.\u201d He glares at Antoine, \u201cBut first you must separate from some temporary people.\u201d As he leaves, Christine says, \u201cThe man\u2019s really mad!\u201d \u201cYes, yes,\u201d Antoine agrees, suddenly recognizing his true self. \u201cHe must be.\u201d<\/p>\n

\"Delphine<\/p>\n

Truffaut cannot resist his hero as an adorable, romantic, shy incompetent. Applied this conspicuously, charm repels. A freeze frame of Antoine\u2019s \u201cdisarming\u201d smile reveals the extent of the miscalculation. Later, blundering attempts at tailing people are conveyed by peering over a newspaper of course held upside down, or peeking out from behind a tree. And the Truffaut of 1960 wouldn\u2019t have milked the death of a veteran private detective (long shot of rows of tombstones; the camera panning down to follow Antoine leaving the cemetery with music rising on the soundtrack).<\/p>\n

Stolen Kisses<\/em><\/strong> has no real plot; the episodic impression is heightened by the liberal use of fade-outs. This could have worked if the writers (Truffaut and two others) had constructed dense, economical sketches, but nearly everything is trivial; we trail Antoine for 91 minutes, but Truffaut has nothing more to say about him. The old Truffaut pops up here and there. Having lunch with Tabard and his wife, Antoine mentions that he\u2019s learning English with records. \u201cRecords are a joke,\u201d Tabard snaps. \u201cYou can only learn English in bed with an English girl. I learned with an Australian; her husband was a house painter \u2014\u201d \u201cComme Hitler<\/em><\/strong>,\u201d Fabienne interrupts. \u201cDon\u2019t ever say that,\u201d he warns. \u201cIt\u2019s slander. Hitler was a landscape painter.\u201d<\/p>\n

For a Truffaut film, Stolen Kisses<\/em><\/strong> is visually stale. In the past he has always used the best cinematographers \u2014 Henri Deca\u00eb on The 400 Blows<\/em><\/strong>, Nicolas Roeg on Fahrenheit 451<\/em><\/strong>, Raoul Coutard on the rest. Even his worst films have contained flashes of poetry. Here, Denys Clerval\u2019s DeLuxe color camerawork is far from lyrical and equally far from obnoxious. The editing of Agn\u00e8s Guillemot is unobtrusive and apt. But Antoine Duhamel\u2019s music is poured over each scene like molasses: It has about that consistency.<\/p>\n

I\u2019d rather blame L\u00e9aud\u2019s man-child affectations on Truffaut, but the actor\u2019s antics have done similar harm elsewhere. Only Seyrig\u2019s distinctive looks and personality are evident in this tritely conceived part. Claude Jade delights as Christine, a mixture of innocence and cunning, and Michel Lonsdale plays the friendless Tabard with a stern, straight face that is very funny.<\/p>\n

Stolen Kisses<\/em><\/strong> can hardly be said to settle anything about Truffaut\u2019s career: He is only 37 and this is but his seventh feature. But he is covering familiar ground \u2014 no striking observations, resonances, or stylistic expression. If the result is more successful than Fahrenheit 451<\/em><\/strong> or The Bride Wore Black<\/em><\/strong>, it\u2019s because Truffaut risks so little these days.<\/p>\n","protected":false},"excerpt":{"rendered":"

In The 400 Blows Truffaut introduced Antoine, a 12-year-old at odds with the world in which he found himself. Antoine lost his girlfriend to an older and more masterful rival in the opening segment of Love at Twenty. Now, after two failures (not only of execution), Truffaut has returned to that character, but Stolen Kisses does not mark a reprise of his most confident style.<\/p>\n","protected":false},"author":45,"featured_media":7177,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[117],"tags":[1306,1305,1303,1304,1307,508,1302],"class_list":["post-7174","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-time-capsule-cinema","tag-claude-jade","tag-delphine-seyrig","tag-francois-truffaut","tag-jean-pierre-leaud","tag-michael-lonsdale","tag-movie-review","tag-stolen-kisses"],"yoast_head":"\nFran\u00e7ois Truffaut\u2019s \u201cStolen Kisses\u201d \u2013 A Look Back - Traveling Archive<\/title>\n<meta name=\"description\" content=\"In the movie 'Stolen Kisses' director Fran\u00e7ois Truffaut returns to the character of 'The 400 Blows' - Antoine - but it doesn't mark a reprise of his most confident style.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/travelingboy.com\/travel\/francois-truffauts-stolen-kisses-a-look-back\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fran\u00e7ois Truffaut\u2019s \u201cStolen Kisses\u201d \u2013 A Look Back - 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