adi shankaracharya is a 1983 indian film in sanskrit language directed by g. v. iyer .

the film depicts the life and times of 8th century hindu philosopher , adi shankara , who consolidated the doctrine of advaita vedanta ( non-dualism ) in hindu philosophy .

it was the first film in india to be made in sanskrit .

at the 31st national film awards , it won four awards , including best film , best screenplay , best cinematography and best audiography .

adi shankaracharya ( film )

adi shankaracharya ( 1983 ) directed by g . v . iyer • reviews , film + cast • letterboxd
good movie about adi shankaracharya . . . if you kno carnatic music , you will like it even better . . .
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aadi shankaracharya - full . . .
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adi shankarac . . .
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jagadguru adi sankara full length telugu movie | | dvd rip . . - youtube
i believe gv iyer made a film on swami vivekananda . is that available on dvd ?
i live next to the place where adi shakara was born . kalady , kerala , india .
avirodhitayaa karma navidyaam vinivartayet vidya - avidyaam nihantyeva tejashtimira - sanghavat .
- - atma bodha ( shankaracharya )
admittedly , making a film on adi shankara is a daunting task . the good thing is that g . v . iyer , an old hand at spiritually - themed films , manages to communicate the sense of time . . .
i stumbled upon your blogspot while searching for information on the movie . i watched adi shankaracharya yesterday ( 25 years after its making ) . i was always interested in advaitam and had read quite a few material about his life but seeing it on the screen left a big impact on me . it portrays what a sacrifice shankaracharya had done to lift vedic principles and save the country from corrosion .
perhaps ishti being an art film could have something to do with the lack of wide interest ? prabha disagrees that it’s an art film , and calls it a “serious film” . “in between all these star - driven commercial films , i guess i can see why people would be interested in films like ishti , ” he says . that’s why he’s now sending ishti to film festivals across the country . “if it meets with good response there , perhaps the distributors will show more interest ? ”
this list collects every film from the starting list that became they shoot pictures don ' t they ' s 1000 greatest films . this…
a month ago , though , things were a lot rosier . the hope that the film could win a national award was still alive… until it was quashed by the announcement that priyamanasam , the only other contender in the sanskrit category this year , had won it instead . but ishti wasn’t made in sanskrit just for the awards , prabha says . after all , he is a retired sanskrit professor , and a former head of the oriental languages department at loyola college . “sanskrit isn’t dead , as many people think . i’ve always wanted to make a sanskrit film , if only to show that the language needn’t just be used only for biographical films . ” he’s making a reference to the 1983 sanskrit film , adi shankaracharya .
adi sankaracharya by ayer is a poem is in celluloid without any doubt . the film successfully traces the growth a brahmin boy from kerala into one of the great teachers the world has known . the camera has copied the beauty of nature , especially the rain . every one who is serious about serious movies must posses one .
it was an evening of surprises at the m m preview theatre in t . nagar , last sunday . the first surprise was that a sanskrit film , ishti , was being screened . arguably the country’s first - ever sanskrit film with a social message , ishti , starring nedumudi venu , played to a packed audience . the director , dr . g . prabha , says he was astonished that so many people turned up for the screening . “i wanted this preview exclusively for members of the press , as i wanted to spread word about my film . for all the money i put into making it , i was worried that the film could simply vanish without getting its time in the sun . ”
the movie is the biography of shankaracharya . born in the state of kerala , he becomes a monk at an young age and travels north , in search of knowledge and truth . it was a time period when hindus were giving importance to rituals and forgetting the all prevailing , one god . it was also the time period when buddhism was on the raise . shankaracharya forms a new school of thinkers preaching the adhvaitha philosophy . through his new philosophy and teachings he changes the views of many scholars and religious people .
i remember watching the film on a sunday afternoon . doordarshan would telecast regional films , and they had telecast this . i was probably around 10 years old or so , but i was deeply attracted to the movie .
by the end of the 8th century , hindu thought and philosophy had acquired several obscurities and inconsistencies and faced a challenge from other heterodox sects and buddhism . born in kerala , shankaracharya arrived on the religious scene around this time . as a boy , he was instructed in the religious life by his father and made to practice the prevalent rituals . his father ' s death , however , compelled him to think deeply about life and death , the body and the soul . with his mother ' s approval , shankaracharya decided to lead a life of truth , a journey which would take him across the sub - continent . shankaracharya furthered the school of vedantic thought and propagated the advaita ( monism ) philosophy , eventually leading to the establishment of the four famous learning centres in the far corners of india .
following the screening of ishti , several guests took to the stage to talk about the film . among them was b . lenin , an editor and director who has to his credit as many as five national awards . he created a stir when he said that he had reason to believe that the central government had a part to play in ishti being ignored at the national awards , and that the film wasn’t even watched by the national awards jury members .
ishti is about a conservative namboothiri family in the early 1900s , when “it was the norm for the head of the family to practise polygamy , and often marry women at least 40 - 50 years younger than him . ” the film ends with the heir of the family burning his sacred thread in anger , and the old namboothiri’s third wife walking out of the house in rebellion , after flinging away her thaali . but prabha doesn’t agree that the film is anti - namboothiri . “i’m simply showing the evil practices of society in the past . even during those days , there were progressive namboothiris . ”
i’m a japanese learning india . a sanskrit movie . the spiritual journey of adi shankara - san . # i hope calling him so does not offend anybody . learned his life and philosophy searching for the truth . btw , this movie shows lots of beautiful places in india . music is also nice . i enjoyed this .
but not everybody shares his opinion that ishti is harmless . sivadasan namboothiri , the president of brahmanakshema sabha in muvattupuzha , has filed a case against cbfc for granting the film a u - certificate , and the director for tarnishing the reputation of the namboothiri community . prabha reacts , “the case is ongoing ; so , i can’t make any comments . i’m told though that the plaintiff is a man from a little - known organisation ; i’m not really worried about this case . ” but prabha wishes it hadn’t come to this . “i know there are those who probably think that this is publicity for the film , but as a retired professor , i’ve never wanted such cheap publicity for my work . ”
when asked about this controversy , prabha , the director of ishti , said he didn’t know enough to make an informed comment . “but if it’s true that the awards are manipulated by the government , then i’m really pained . ” prabha also said that he hadn’t yet been able to catch priyamanasam , the sanskrit film that won the national award this year .
adi shankaracha by gv iyer is one of the best movies i have ever seen . the most wonderful narration of the life of the immortal master . it took 25 years after the creation of this classic for me to see the movie . anyway , a lovely wonderful classic . every indian must see this movie . we had and have such a wonderful tradition and culture .
for example two children’s join shankara when he is young . they are named
death
and
wisdom
, they are the symbolic representation of death and wisdom .
death
arrives as soon as shankaracharya ' s father dies and
wisdom
arrives during his initiation into brahminhood . through out the movie these characters come and go again and again , symbolically meaning different things depending on the context . details in the symbolism section .
jagadguru adi sankara full length telugu movie title : jagadguru adi sankara , cast : kaushik babu , akkineni nagarjuna , mohan babu , sai kumar , srihari , suman , directed by : j . k . bharavi , music by : nag srivatsa , produced by : nara jaya sri devi , global sai financiers , release dates : 15 august 2013 . plot : shankara decides to become a saint at very tender age . agni devudu ( tanikella bharani ) , rudraksha rushi ( mohan babu ) and chandaludu ( nagarjuna ) help him to realise his dream . once adishankara reaches a certain age , he wants to set out to kasi . while he is on his way to kasi , kapala marthanda raju ( suman ) tries to seize the sarvaghna peetam . how adhishankara stops the peetham from falling into the wrong hands will form the rest of the story . watch more latest movies subscribe @ urltoken
it is a great movie on jagadguru sankara . the movie in sanskrit with english sub titles is very good . everybody can see this movie and know about adi sankara . it is a true and real story of sankara . i have recently watched a movie in telugu about sankara but there were many number of deviations in the story of sankaracharya . this particular movie is a true story and there no changes made in the story part . every indian irrespective of religions should watch this movie .
this is a movie for spiritually inclined people . others might be terribly bored with it as it all about hinduism and one of the greatest saints of hinduism . the movie has the credit of being the first one to be taken in sanskrit . a language that is thousands of years old , but it has taken so long to make a movie in it .
the movie as i said before will be boring for non - spiritual people . the most interesting thing that i found in the movie was the usage of symbols by g . v . iyer . the movie is filled with symbolism .
director g . v . iyer ( ganapathi venkatrama iyer ) is a known philosopher . he had put in lots and lots of efforts into the movie . apart from telling the story of a great saint without any commercial selling points in mind . he has also tried to tell his teachings in the most simplest way . he not only tells the story of the saint , he breaks up the big philosophy ' s and truth ' s told in the upanishads and vedas and has tried to give them in a way , even a lay man can understand . and off course his usage of symbolism in the movie is great .
in a scene where shankara is walking with his followers and a untouchable comes before them . all his followers ask the untouchable to move aways . he does not move . shankara asks him to keep off
during this scene where shankara and the untouchable are on opposite sides .
wisdom
his friend movies aways from shankara and stands next to the untouchable , symbolically conveying who is wise and who is ignorant on that case .
the movie has very good subtitling . apart from good translation , an explanation of the rituals that are being carried out and symbolic meaning of objects are also subtitled .
music is by dr . balamurali krishna himself . he also sings many of the slogams in the movie .
madhu ambat has done a very good job in the movie . the movie has excellent cinematography ( remember this was taken in 1983 ) .
the movie won the covetted national award for best picture in 1983 . it also won the national award for best cinematography , best audiography and best screenplay .
shankara ' s father fore sees his death , his funeral pyre . he then walks inside his house , next to the yaga fire . the camera does a low angle shot , which almost makes him look like as if he is on fire .
crow and dove . crow is the doer , the active one . the dove is the passive observer , the atman ( inner self )
shankara goes to watch a play . the story is that of nachiketha who asked yama to tell him the secret of atma . yama tests him and tells him the truth only after knowing that he is steadfast on attaining that knowledge . shakara sets on with his travel to attain knowledge from govindapada .
shankara goes to take bath and death is sitting on the banks . shankara asks what are you doing ? .
death
replies
iam waiting for you
. shankara goes to take a swim in the river . he almost drowns , his mother prays saying that she will make him into a monk , if he survives . shankara some how escapes and comes out with a saffron ( symbol of renunciation ) cloth that was floating on the river , covered over his body .
at the end of the movie when shankara wants to attain moksha . he is all set to reach god , he goes on to the top of the himalaya ' s leaving all his followers . death leaves him saying he cannot follow him anymore and wisdom embraces him .
shankara ' s journey which starts from the flat lands of the southern most state of india , kerala , ends at the northern part in the summits of the himalaya ' s . he is ready to leave the materialistic world and reach god . he has reached the peak .
this movie is one of my favorites , for the reason you summarized so well . though not a hindu , not even an indian , i can still understand well the religious message through its rich symbolism and ascetic photography . hauntingly beautiful and unassumingly profound .
was able to like the movie , is a success to g . v . iyer ' s effort to present the movie in simple and symbolic way .
g . v iyer made another movie called mahabharatha ( also in sanskrit ) .
i believe so . . i saw it in some indian video sotre in d . c .
is the dvd available ? ? i checked a couple of online stores , but they dont have it .
i had seen movie when i was young , i still want to see and understand the movie as i am still young ! ! ! please tell me where can i find dvd or video casette of one of the most revered saint in indian history .
where can i get cd of movie . i have seen it on tv when i was very young . suberp movie . from mangesh
thanxs for the comment guys . the movie is widely available in u . s . not sure about india . netflix , amazon and many indian online dvd sites carry it .
hey folks , its really nice to see or hear the comments like this . happy to know that still people like know about the reality of hinduism . which is universal truth and simple living principles .
i am really happy , and i will find out the this sanskrit movies and watch . i started to learn sanskrit & gives me good chance to understand sanskrit thru this movie . we have good way learning sanskrit , if any one interested do let me know i will let you know to practice sanskrit at home easliy .
wonderful article , thanks for the information on a wonderful movie and great director .
hi , i have seen this movie in one afternoon on sunday under the rgional cinema shows . really , a fantastic movie with a blend of philosophy , religion and national history .
a great work done by compiling is such a nice maner . kudos dear ! !
while technology is advancing to great heights , still spiritualism , which is the ultimate path to every soul , is spreading out its divine fervour even through internet .
the symbolism is way too good . hats off to g . v . iyer .
good post on the movie because very few people would watch and write about this movie .
and if you want to watch it leisurely you can try downloading it with realplayer download manager or orbit download .
really ia m in search of this movie since a long time please guide me . you can please mail me at
aprameya . sharma @ urltoken
idam chithram gnyana pradaayakam thathava vivechanam haindava dharma uddepanamapi , shankara prasadena asya darshakasya janma charithartham chirasthaainam . . .
many more movies should be prepared in sanskrit . translated ones cannot convey the meaning in its full .
i am highly greatful to shri iyer for his interest , initiative and efforts .
anal kumar ( अनल कुमार ) , tgt ( sanskrit ) , kendriya vidyalaya no . 1 , patiala ( pb )
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the first and only indian movie to be made in sanskrit . the movie follows the life and times of sankara - the founder of the non - duality ( advaita ) school of indian philosophy .
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awesome movie ! ! ! an eye opener . hats of to the actors and cinematographer .
the one i have received is a hindi dubbed version , not the sanskrit version i was hoping to receive .
the print was excellent . sub - titles were in a few places not to . . .
the print was excellent . sub - titles were in a few places not to the context . on the whole , my expectation was met .
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the first and only indian movie to be made in sanskrit . the movie follows the life and times of sankara . . .
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action cannot destroy ignorance , for it is not in conflict with or opposed to ignorance . knowledge does verily destroy ignorance as light destroys deep darkness . ( translation - - swami chinmayananda )
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when contacted , gangai amaran , a chairperson at the national awards this year , who was responsible for the selection of marathi and bengali films , rubbished this allegation . “they should know that not all films can be recommended for a national award . films by directors like mani ratnam and shankar didn’t make it to the final list . having been part of the process of selection , i can confirm that there was no pressure from any external body . i strictly condemn those making these wild allegations . perhaps this is just a case of sour grapes . ”
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antoine and colette ( french : 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 .

the third is the feature film stolen kisses .

antoine and colette was made for the 1962 anthology collection , love at twenty , which featured shorts from the renowned directors shintarô ishihara , marcel ophüls , renzo rossellini and andrzej wajda , as well as truffaut .

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 , 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 influential outpouring of work from young french filmmakers including jean-luc godard , claude chabrol , and éric rohmer .

antoine and colette

— colette ( 1873 1954 ) is the pen name of the french novelist sidonie gabrielle colette . colette may also refer to : people colette ( given name ) dj colette ( 1975 ) ( born colette marino ) , a chicago , illinois , dj and house musician rocio colette acuña… …
the 400 blows / antoine and colette ~ kino ~ 30 . 03 . 2016
the 400 blows / antoine and colette ~ kino ~ 30 . 03 . 2016 - youtube
looking for movie tickets ? enter your location to see which movie theaters are playing antoine and colette near you .
francois truffaut ' s semi - biographical character antoine doinel , played by jean - pierre leaud , gets totally owned by his girlfriend colette in the last scene of the 1962 short ' antoine et colette ' . antoine and colette was part of a small collection of films called
l ' amour a vignte ans
.
since my adventures of antoine doinel reviews began on a personal note , i ' ll keep it going by mentioning i had a similar experience to the one antoine has when he runs into colette in stolen kisses . in the years that have passed , colette has gotten married and had a child . the husband / father is the guy she jilts antoine for at the end of antoine and colette , no less . seeing her this way only serves to irritate antoine , and not just because he ' s on a stakeout .
] , and an affirmation of the classic cinema that informed a young antoine and inspired his author .
that was it . it was the last communication between either of us . not unlike some of antoine ' s angry letters to colette and christine , i might add .
some time after
baisers volés
, antoine doinel ( jean - pierre léaud ) and christine darbon ( claude jade ) are married and antoine works dying flowers , and christine is pregnant and gives . . . see full summary »
as their favorite by a mile , but antoine et colette - - the only short in the bunch - - gets its fair share of love too .
the meaning becomes clear early on when antoine is spied sprinting from the courthouse by his one - time object of affection , colette ( co - writer marie - france pisier ) . he has just finalized his divorce to christine ( claude jade ) , and antoine is running to get to work . the destination is immaterial , however ; as colette says , same old antoine , always on the run .
louise , known for her roles in no angels , torchwood , the chatterley affair and waterloo road , will play holby’s new director of nursing , colette sheward . tough - talking , politically incorrect , funny and loyal , colette is unfazed by arrogant doctors and fiercely protective of her team .
stolen kisses joins a bumper crop of truffaut blu - rays on august 25 th . as for antoine et colette , artifical eye marketing boss paul diment tweeted to tell me it’ll appear as an extra on the next antoine doinel film , bed and board .
now aged 17 , antoine doinel works in a factory which makes records . at a music concert , he meets a girl his own age , colette , and falls in love with her . later , antoine goes to extraordinary lengths to please his new girlfriend and her parents , but colette still only regards him as a casual friend . first segment of “love at twenty” ( 1962 ) .
antoine et colette , which was originally made as an episode in the series l ' amour à vingt ans , was a sequel to truffaut ' s the 400 blows . in the film , antoine doinel ( jean - pierre léaud ) works at the philips record store and courts the elusive colette ( marie - france pisier ) . the story of antoine doinel continues on in baisers volés / stolen kisses ( 1968 ) , bed and board ( 1970 ) , and love on the run ( 1979 ) . ~ rovi
) is so like colette , we ' d think that truffaut just swapped the girl ' s name when he swapped actresses if it wasn ' t for the colette cameo midway through the picture . whatever relationship she and antoine had before the army , he has been relegated to the friendship zone , no matter how hard he pushes . antoine doesn ' t know what to do .
this is an exciting time for holby city and louise joining the cast as colette sheward only adds to the buzz of what’s coming up in the show . colette’s unquestionable loyalty will lead to some intense showdowns as she stands by her team no matter what the cost . but as the drama unfolds viewers will find out that everyone at holby has an achilles heel – and colette is no exception !
shortly after finishing his great film , jules et jim , françois truffaut went to work on an omnibus project with a short film of his own and other short films by roberto rossellini , shintaro ishihara , marcel ophuls , and andrzej wajda . the film , as an entire project , was evidently a complete failure , and has seldom been shown as a five - star cinema . but truffaut’s own contribution to the larger work , antoine et colette ( antoine and colette ) was an important development in his career , namely because it represents the second in his ongoing antoine doinel series .
cast : jean - pierre leaud ( antonie doinel ) , marie - france pisier ( colette ) , patrick auffay ( rene ) , rosy varte ( colette ' s mother ) , jean - francois adam ( albert tazzi ) .
truffaut didn’t plan the adventures of antoine doinel , until a short film antoine and colette in love at twenty , where he depicts doinel now as a teenager having his first love and professional experience . truffaut settles more obstacles and psychological crises on the character . antoine lingers on nostalgia , unresolved matters , and thus reflecting this on his lovers and decisions . he has the mind and soul of a child ; the child we once saw in the 400 blows . here is a character who persists on personifying the end of childhood and truffaut’s adulthood and his more joyful years . the character antoine is part of truffaut , but not entirely ; a part of lead , but not wholly , it’s a piece of you , me , and everybody .
it is , instead , a series of sequences in which everyone takes stock - - the now serenely self - aware christine , the beautiful , sensitive , funny colette , as well as the perplexed antoine . they take stock in great swatches of flashbacks lifted from
the 400 blows
( black - and - white ) ,
colette
( sepia ) , and
stolen kisses
and
bed and board
( both in color ) .
peron , didier , and antoine de baecque . “leaud , retour à doinel . ” libération 31 august 2001 .
that same evening antoine runs into colette , again played by marie - france pisier , who is now a lawyer and still a woman with a mind of her own , which is to say that she has antoine & apos ; s number . by one of those coincidences that tie such comedies together , colette & apos ; s lover , a librarian , turns out to be the brother of antoine & apos ; s sabine , which leads to a certain amount of misunderstanding of no real importance .
after
the 400 blows ,
which introduced antoine as the 13 - year - old juvenile delinquent , there were the
colette
sequence from
love at 20
( 1963 ) , in which antoine courted the spirited marie - france pisier but won only the affection of her parents ;
stolen kisses
( 1969 ) , in which antoine , discharged without honor from the army , pursued the music student , christine ( claude jade ) ; and
bed and board
( 1971 ) , in which the marriage of antoine and christine fell apart as the self - interested antoine sought a literary career and extra - marital affairs .
louise delamere said : “it ' s great to be joining holby city as part of the team . colette is a surprising and funny character and i look forward to starting my ward rounds ! ”
. his move , if nothing else , brings him even closer to colette’s parents , who now invite him over regularly for dinners ; but his shift of living conditions does little to assure him of colette’s love . and by the brief film’s end , he finds himself sharing a bowl of tangerines with the old folks , while an older boy stops by to collect colette for a date . antoine may have gained a new set of parents , but he has lost the object of his love . obviously , he is seen by colette , as she describes him in the last of the doinel series ,
is deceptively simple and was largely improvised by truffaut and his cast . when we first meet our main character , antoine ( jean - pierre leaud ) , he works as a stock room boy in a record publishing firm in paris and lives in a furnished room in place clichy . one day while attending a berlioz music program he is instantly smitten by a beautiful young woman in the audience . he begins to notice her at other concerts he attends and eventually works up the nerve to speak to her . a friendship develops between them ; they have coffee together , exchange favorite books and records , but all the while antoine is harboring a secret love for colette . antoine ' s infatuation spurs him to relocate to an apartment directly across the street from colette ' s home where he can more carefully monitor her activities . even though he befriends her parents and insinuates himself into their household as if he were a member of the family , his possessiveness towards colette ends up driving her away from him . in the final scene , a gentleman caller arrives to take colette to the cinema , leaving antoine to watch television with colette ' s parents .
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 ?
antoine doinel . he ' s got four ladies . . . nine lives . . . and plenty of alibis !
oliver kent , executive producer , holby city , said : “this is an exciting time for holby city and louise joining the cast as colette sheward only adds to the buzz of what’s coming up in the show . colette’s unquestionable loyalty will lead to some intense showdowns as she stands by her team no matter what the cost . but as the drama unfolds viewers will find out that everyone at holby has an achilles heel – and colette is no exception ! ”
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antoine and colette
catches up with antoine doinel as a solitary 17 - year - old who works at phillips manufacturing lps to support himself . he meets colette , a high - school student , at a concert and falls in love for the first time . the film traces his awkward courtship of the icy colette , who never reciprocates . léaud gives a mature , knowing performance , establishing antoine as a universal figure , an everyman — or in this case , an everyboy - man — whose joys and pains can be felt by everyone . truffaut continues the soft , moving style he employed in
les quatre cents coups
to great effect , painting a poetic portrait of young , unrequited love . doinel ' s adventures follow with
the second entry in the antoine doinel series is actually a short segment from an anthology film featuring directors from around the world telling stories about first - time love affairs . made in 1962 and running just thirty minutes , antoine and colette picks up with antoine a few years after the 400 blows ( and it ' s included as a bonus on the 400 blows dvd [ review ] ) . he is 17 and on his own . he has developed a love for classical music , and he works at a record company , first inserting the platters in their sleeves and then hand - pressing the albums himself .
antoine et colette was originally planned as two things : a ) as a continuation for curious followers of antoine doinel ' s life after his harsh childhood anecdotes of delinquency , lack of parental figures and scholar abuse , and b ) the first of five segments of the multinational feature l ' amour à vingt ans ( 1962 ) , where the legendary directors shintarô ishihara , marcel ophüls , renzo rossellini and andrzej wajda also participated .
some time after
baisers volés
, antoine doinel ( jean - pierre léaud ) and christine darbon ( claude jade ) are married and antoine works dying flowers , and christine is pregnant and gives private classes of violin . when christine is near to have a baby , antoine decides to find a new job , and he succeeds due to a misunderstanding of his employer . in a business meeting , he meets the japanese kyoko ( mademoiselle hiroko ) and they have an affair . when christine accidentally discovers that antoine has a lover , they separate . but later they miss each other and realize that they do love each other .
antoine doinel is now more than thirty . he divorces from christine . he is a proofreader , and is in love with sabine , a record seller . colette , his teenager love , is now a lawyer . she buys . . . see full summary »
seems to be truffaut ' s way of telling us not to worry about antoine .
while antoine , christine and colette relive their earlier entanglements , mr . truffaut makes it clear that his identification with antoine / leaud has grown from one based on concern , fondness and superficial likenesses to one having to do with a philosophy of life and art . antoine & apos ; s stories - - the ones he acts out in these films as well as the ones he wants to writer as a novelist - - are so totally concerned with the processes and emotions of falling in love that he & apos ; s continually surprised when the affairs are suddenly over .
] ) . she is a fidgety girl and doesn ' t really seem focused on the performance , but rather than see that as a red flag , antoine is drawn to her . he starts to look for her at shows , and eventually talks to her and befriends her . truffaut captures the excitement and confusion of young love , both in success and failure . antoine spends much of
antoine et colette , truffaut ' s second feature about the frequently - aimless antoine doinel , has the virtue of being compact in its theme , content , and length . it ' s the natural follow - up for the character from what we last see in the 400 blows . self - sufficient and working for a record company in paris , his problems have shifted from school and parents to girls . his relationship with his friend colette ( whom he wants to be more than friends with ) is the focus here , and it ' s depicted with the same realistic awkwardness that truffaut depicted so well in the previous movie .
the vicissitudes of antoine’s relationship with christine are somewhat difficult to follow , as acknowledged in the first treatment : “as the picture progresses , we will see that the relationship between antoine and christine , who studies violin at the conservatoire national de musique , is so uneven and complex that her parents and his friends are never quite sure where these two stand with respect to each other . ” in part , it was based on the liliane litvin episode . christine , not colette , is behind antoine’s rash decision to join the army ( along with his reading of military servitude and greatness ) , and he writes to her while he’s away , just as truffaut continued to write to litvin in the vain hope that she would fall in love with him at some point . “you wrote so many , i couldn’t answer them all . i counted once . nineteen letters in one week , ” christine says , and later adds , “and they weren’t always nice letters . ” also , like colette’s parents before them , the warmhearted darbons become a substitute family for antoine , inviting him for meals and sending him vitamins so that he doesn’t get sick while working nights at the hotel . christine’s father even owns a garage , as liliane litvin’s stepfather and colette’s stepfather both did . ( the fact that christine calls him “lucien” might suggest that he’s actually her stepfather , though that’s not stated , and they do have the same last name . initially , darbon was supposed to be colette’s surname , but truffaut appears to have dropped it somewhere between the first treatment and the final screenplay of antoine and colette , and her surname is never revealed . he may have taken it from the actor who played her stepfather , françois darbon . )
love on the run
picks up antoine and christine on the morning that their no - contest divorce becomes final . neither antoine nor christine is especially upset by this development . christine has learned to live without antoine and antoine is busily involved in a new affair with sabine , a pretty , bright young woman played by dorothee , a new actress who looks a lot like the younger claude jade and like catherine deneuve , who has also figured in mr . truffaut & apos ; s career .
de baecque , antoine , and serge toubiana . truffaut : a biography . trans . catherine temerson . new york : knopf , 1999 .
truffaut , françois . the adventures of antoine doinel . trans . helen g . scott . new york : simon and schuster , 1971 .
truffaut gave revon and de givray a few starting points — one of these was the title , baisers volés ( stolen kisses ) , which was derived from charles trenet’s song “que reste - t - il de nos amours” — and after much research , input from the director and subsequent revision , they produced what truffaut described as “a loosely written chronicle in which improvisation would have the final word . ” in addition to léaud , marie - france pisier and jean - françois adam would appear briefly as colette and her now - husband albert ; françois darbon , who played colette’s stepfather in antoine and colette , was also brought back , but in the role of an army officer . ( rené , notably , disappears without a trace . antoine was going to have a new best friend named didier in stolen kisses , but the character and his girlfriend , juliette , were cut shortly before shooting began . ) truffaut assembled the rest of the cast in january 1968 , and he started filming on february 5th .
this same technique is used once in the second full - length doinel picture , 1968 ' s stolen kisses . this follow - up makes for a more natural double feature with antoine and colette , as our hero is suffering from the same romantic maladies that plagued him six years prior .
the most 400 blows - like of the antoine doinel series . watching antoine fumble through this doomed courtship is both fun and painful . it’s a testament to how great truffaut really was at portraying romances . . . especially failed ones .
francois truffaut is no stranger to romance . one can feel traces throughout his filmography prior to antoine and colette that he is an individual who views the world through a romantic lens , and he reflects on screen his personal emotional experiences , captured with amplification but without losing trace of its honesty . this was certainly the case with the 400 blows , the first of his antoine doinel saga , as its autobiographical nature allowed truffaut’s audience to easily connect with the character , reaching beyond the doorway of antoine’s emotions , enduring through his experiences as if we ourselves are present and triggered .
antoine is in love with sabine ( dorothée ) , but she breaks things off when he ditches her to go see his son at the train station . while he is there , he impulsively joins colette on a train ride where they recall their past and go through his recent autobiographical novel .
finally , monsieur lucien ( julien bertheau ) also re - enters antoine ' s life and they visit his mother ' s grave at montmartre .
antoine and colette is a short starring jean - pierre léaud , marie - france pisier , and patrick auffay . 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 »
as it is the first no - fault divorce of its kind in france , the press surrounds them . in the crowd is also antoine ' s past love , colette ( marie - france pisier ) , who is now a lawyer and in love with xaiver the librarian ( daniel mesguich ) .
each series have a rather aimless , yet never frivolous plot . six years later , truffaut directs stolen kisses , where he comments on the cinémathèque française incident . the may of 1968 marked henry langlois’ , the director of the cinémathèque française , substitution with pierre barbin– the change was orchestrated by the government and the ministry of culture . kisses is dedicated to the everlasting film preservation made by langlois . in other words , dedicated to the love of cinema . two years later , bed and board , then love on the run nine years later . and as we witness truffaut’s comedic and meticulous character development , we know that france is changing too . antoine’s mischievous charm leads him to incredibly comical , whimsical , and melancholy circumstances that survey his morality . truffaut makes antoine take different jobs and fail at each one of them . he works at a record company in antoine and colette . he is a detective , shoe salesman , and tv repair man in stolen kisses . antoine is pure magic , even a magician himself on - screen , justified by his first job in bed and board as he transforms white flowers into different colors . he toys with work and love as if it were magic . antoine’s love affairs are ironic , dismal , and childish . after being released from the military , the first thing he does is seek emotional refuge in a prostitute . in stolen kisses , antoine falls in love with the wife of his boss . in bed and board , a japanese women seduces antoine , and antoine has no choice but to cheat on his wife christine .
since the beginning , the antoine doinel of truffuat’s emblematic first feature would only be a frozen image of childhood in post - war france . the 400 blows ends with an ambiguous tracking shot of antoine at the beach . it was a detailed sketch of truffaut’s young and damaging years . each antoine doinel film personifies a historic moment , and the 400 blows marks the beginning of a new cinema . in contrast with his french colleagues , who crafted characters rather political and revolutionaries , truffaut focused on designing his political character as a misfit in society . antoine doinel doesn’t move along the societal waves , he moves to his own current . in two decades , antoine never grows up emotionally or mentally , only physically . leaud maintains intact the innocent image of antoine and the symbol of french new wave , no matter its apparent physical change . one may be ambivalent of these series– if utterly obsessed and seduced by the ambiguity of the 400 ending– as truffaut easily destroys audience’s imaginative future of older antoine . in the end , the series naturally work because antoine is a representation of luck , charm , and ingenuousness .
from the very beginning , this final chapter in the antoine doinel series feels superfluous . once again , the focus is on antoine ' s love life and he is pretty much the same character he was in the past two films - and any charm he exuded in those films is running out here . the same can be said for the films . the first film in the series - the 400 blows , and the short film follow - up , antoine and colette , are the two best and most interesting films in the series . everything after is a slow descent . stolen kisses is fine love on the run feels even duller . even worse , there is a lot of rehashing -
remember when this happened ?
- and then we see a…
even though this makes it sound as if antoine was merely léaud mimicking truffaut , both men acknowledged that antoine became a mixture of the two of them , and that léaud’s influence on the character increased over time . in their biography of truffaut , antoine de baecque and serge toubiana cite stolen kisses as the film where the actor really started to have an impact : “increasingly , the character’s gestures , attitudes , anecdotes , and even memories belong to léaud himself . truffaut was fully aware of this and encouraged it , never curbing léaud’s inspiration and improvisations . ”
, a noble effort with great acting and beautiful cinematography , but overbearing music and a muddled script .
thus dishonorably discharged , antoine finds himself at loose ends . after stopping by a brothel , he returns to his old room ( not either of his rooms from antoine and colette , for the record ) and then goes to see the darbon family . christine darbon ( claude jade ) — the girl behind antoine’s “personal reasons” — is away on a ski trip , but her parents ( daniel ceccaldi , claire duhamel ) welcome him warmly . through christine’s father , antoine becomes a night clerk at a hotel , but he’s soon fired after he unwittingly lets a private detective and a jealous husband enter a woman’s room to obtain proof of adultery . to make up for it , the detective , monsieur henri ( harry - max ) , gets antoine a job at his company , the blady agency . before long , the owner , monsieur blady ( andré falcon ) , becomes frustrated by antoine’s incompetence . “i don’t know what to do with you , ” he says after antoine botches a simple assignment . “you mean well , but… it’s discouraging . ”
is among the most beautiful things truffaut ever committed to film . there is something bracing about its swiftness alone , and about the way truffaut slices confidently through his material , both expository ( antoine ' s modest living situation , his job , his determination to land colette ) and emotional ( a love of paris , a deep attachment to music , and a burning desire for women , all three traits shared by the director and his alter ego ) . . . he also shifts
to antoine , fabienne is “an apparition” and the real - life embodiment of madame de morsauf from balzac’s the lily of the valley . fabienne herself visits him in his room and sets about to correct his overly romantic view of her and of women in general :
is a cinematic clip show , a review of all that has come before . we see the pieces of antoine ' s past laid out like a romantic puzzle , complete with memories added by both colette and christine . it has an analogue in the here - and - now puzzle antoine has been trying to put together : he found sabine because of a torn - up photograph . the identity of the mystery girl that he reassembled demanded to be answered . is it fate that has brought all these people together ? has all that has happened truly been to push antoine toward sabine ?
a wonderful bookend to the antoine doinel saga that is not given nearly the amount of credit it deserves .
after being discharged from the army , antoine doinel centers a screwball comedy where he applies for different jobs and tries to make sense of his relationships with women .
is agile and entertaining enough to keep that from mattering too much . the maturing antoine doinel is every bit as charming as he was when young , and there is a looseness and unpredictability to truffaut ' s plotting that keeps us wanting to know what happens next .
after the 400 blows , we are given antoine and collette . it ' s a film glowing with youth and growing passion for romance . it ' s exciting to be in love , it ' s boring and just cruel if who you wanted to be with is disinterested af .
, which was truffaut ' s debut feature . that film has a huge emotional impact on me whenever i watch it , and i know i ' m not the only one who feels this way . the ending is iconic for its ambiguity ; after the film takes us on such an emotional journey , we don ' t even get unequivocal proof in the end that antoine is going to be
ok .
the whole purpose of antoine and colette ( and continuing on the antoine character in general ) seems to be truffaut ' s way of telling us ( and perhaps himself ) that we don ' t need to worry , antoine ' s life will continue on in its same haphazard way , and he will always be able to make it through whatever situation he finds himself in . i ' m reminded of a quote from felini that has always stuck with me , about the titular character in his film
when trying to sort out director , actor and character , it should be noted that stolen kisses relies much less on truffaut’s personal history than the earlier entries in the series do . in 1965 , he and jean - louis richard had started writing a sequel to antoine and colette in which antoine begins working as a journalist , but he abandoned it after a few months because he felt that it was too autobiographical . thus , instead of becoming a music critic , as antoine and colette might suggest to viewers with a basic knowledge of truffaut’s life , antoine tends to take whatever job comes his way . his interest in music is all but forgotten , although the fact that christine is a conservatory student may be a subtle nod to the previous film , and he says that he likes music in the memorable “oui , monsieur” scene ; at any rate , he no longer has a passion that corresponds to truffaut’s cinephilia . for the most part , he takes his various jobs seriously , but he’s just not very good at any of them — a far cry from truffaut , a star critic in his early twenties and an award - winning director a few years later .
aimlessly yearning , wandering the streets and waiting for colette to come home , waiting for her to notice him , waiting for his attentions to be rewarded . he makes progress , but also makes a fatal mistake in moving into the apartment building across the street from her family and befriending her parents .
but the very girl - next - door christine lacks the comparative mystery and exoticism of fabienne tabard , a woman who’s older , married and cultured enough to speak fluent english , and once he meets her , antoine spurns christine . “love and friendship go hand in hand with admiration . and i don’t admire you ! ” he says . “even when i thought i loved you , i didn’t admire you , and that’s the truth . ” christine , who can’t figure out how she offended him , is baffled and irritated .
if antoine as a character and léaud as an actor are somewhat subdued in antoine and colette , stolen kisses goes in the opposite direction . this time around , antoine’s clumsiness in love spreads to his work and his life in general , and léaud’s performance reflects this in a very physical manner . the actor had played a high - energy comic role the year before in jerzy skolimowski’s le départ , and although he’s comparatively restrained in truffaut’s film , he spends a good bit of his screen time in motion : gesticulating , running , bumping into signs , falling headlong . ( his fall appears to be accidental , as the screenplay only says that antoine “steps aside , ” but it fits in perfectly with the rest . ) in 1970 , he told the new york times that he was “mad about buster keaton , ” and keaton may well have influenced his work in stolen kisses , much of which wouldn’t be out of place in a silent comedy . however , léaud is considerably less deadpan than keaton , like in the scene where antoine is being discharged from the army . as the adjutant chastises him , telling him that he won’t be able to work for the civil service and that his best career option is peddling neckties on the street , “though god knows you’ll never need one yourself , ” antoine alternates between holding back laughter and making sardonic faces .
antoine doinel returns to find he’s grown up – and so has the french new wave , practically mainstream as truffaut engineers a lovely , light comedy for his alter - ego .
more top - notch detective work . later in this scene , when antoine is spotted by the man he’s tailing , he just puts on a hat and keeps following him .
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ant - man and the wasp , starring paul rudd and evangeline lilly , took the top spot at . . .
colette was of more interest to me . unlike the typical hollywood female roles of the time ( i’m thinking of marilyn monroe in some like it hot ) , colette ( played by marie - france pisier ) is an independent , educated girl . she weilds all of the power in her friendship with antoine , and whether or not she is purposefully toying with his emotions is unclear , though probable . even though she’s the reason the film does not have a “happy” ending , i can’t help but like her . i also cannot help being reminded of a more recent film with the same themes , 500 days of summer ( 2009 ) , starring joseph gorden - levitt and zooey deschanel . the female lead in that film , summer , fosters a relationship with the male lead while spurning his romantic advances , just as colette does with antoine . independent female aside , the trials of young love are obviously a theme filmmakers return to continually and explore in a myriad of personal ways .
in francois truffaut’s film bed and board , antoine doinel ( jean - pierre leaud ) attempts to write a book about his tumultuous childhood , seeking the advice of his wife christine darbon ( claude jade ) . all she can say is “a work of art can’t be a settling of old scores ; if it is , then it’s not a work of art . ” francois truffaut’s semi - autographical series of antoine doinel , chronicled in five segments , the 400 blows ( 1959 ) , love at twenty : antoine and colette ( 1962 ) , stolen kisses ( 1968 ) , bed and board ( 1970 ) , and love on the run ( 1979 ) , are marvelous works of art . truffaut slowly came to settle old scores through the colorful canvas of leaud’s ingenious features and superb acting ; truffaut’s cinematic alter - ego . the series are downright absorbing , funny , romantic , and historic . truffaut carried out a constant theme and emotion : how a character may cope in a flourishing france , crystallizing an entire movement up to the 80’s . just think of the antoine doinel series as the original and talented version of richard linklater’s boyhood idea .
truffaut had first reunited with the young star of the 400 blows , jean - pierre léaud’s antoine doinel , in antoine et colette , a short devised for portmanteau movie love at twenty ( and sadly not included here , although it is on the way : for more on that , read on ) . you can feel , though , that the itch hadn’t gone , hence this feature - length sequel , an expansion of the short’s theme of relationships that now takes in the difficulty of getting on in life and in work in a man’s early twenties .
first truffaut gave us
the 400 blows .
then
stolen kisses
. . . and now bed and board
en este caso se recuperan personajes que no veíamos desde la segunda entrega , como es el caso de colette , que juega aquí un papel preponderante en la trama después de haber sido completamente olvidada .
i only found out about the adventures of antoine doinel recently . and it ' s a real thing . it ' s a five part story on françois truffaut ' s fictional persona .
things take a turn for the better when antoine joins a detective agency . though the cases tend to involve mainly following other people around for ludicrous and selfish reasons , it gives antoine a sense of purpose . ironically , it ' s when he got embroiled in an adultery case while working the front desk of a hotel that antoine got the investigator job , and it ' s also adultery that will be both his undoing as a private eye and allow him to succeed as a lover . while undercover in a shoe store in hopes of finding out why everyone hates its owner , antoine is enchanted by the boss ' wife , an elegant older woman played by a radiant delphine seyrig (
, but criterion recently extracted truffaut ' s segment and released it as a stand - alone piece in their adventures of antoine doinel box set . that ' s how i first came across it , and i still haven ' t seen the rest of
is the second of five films francois truffaut made about antoine doinel , a semi - autobiographical and perpetually hapless character played by jean pierre leaud . you ' d be hard pressed to find someone who ' s seen all five films and wouldn ' t name
it ' s hard to say what someone just happening on bed and board randomly would make of it . while the 400 blows [ review ] and stolen kisses can stand on their own independently of the other doinel films , bed and board is nowhere near existing in a vacuum . there is an assumption that you know who antoine is , and though truffaut could have easily made a stand - alone film that relates the newly married experience in much the same way stolen kisses conveyed the travails of dating and early adulthood , he does less to establish antoine and christine as characters separate from what came before . this is a chapter for the initiated only , and is without a doubt lesser for it .
she does nothing to discourage his attentions , often joining him at concerts and inviting him into her home . colette’s mother finds the young boy “romantic” ( perhaps because of his long hair ) , and her affable father enjoys the young boy’s company . the only problem is that colette seems , at best , diffident about her would - be suitor , inviting him to drop by without promising him that she will be at home . in one instance he discovers that , despite her commonly expressed insistence that she needs to study , that she has stayed out most the night with friends . another time , she simply fails to show up to a lecture on electronic music she has hinted she might attend , and antoine leaves in frustration .
l ' amour en fuite ( love on the run ) is presented in flashbacks from the previous four movies as antoine doinel ( jean - pierre léaud ) meets up with people from his past . as the fifth and final film in the series , antoine is over 30 years old and meets with his wife , christine ( claude jade ) , to sign the papers for their divorce .
guy , lauren , jimmy and ty will be on screen until later this year and over the coming months viewers will see their characters involved in nail - biting and life - changing individual storylines .
, who is quite effective here as the mayor . he is stopping by the precinct to question charges of unfair behavior and examine pope ' s methods . the frank and unscripted manner in which the cops and the crooks interact transcends most similar genre pictures , and unlike
it ' s in the third antoine doinel film , 1970 ' s bed and board , that francois truffaut ' s series of films becomes a series proper . now there is a set style and tone , the happenings vacillating between romantic drama and whimsical comedy , the loose narrative only reflecting traditional plot structure in an overarching sense . in relating the life of antoine doinel , small moments are equal to the big changes any individual encounters in his or her worldly progress .
as he walks away , he adds , “i am very happy . ” christine tells antoine , “that man is crazy ! ” and though antoine agrees ( “yes , i’m sure he is” ) , he looks far more perturbed than she does . the fact that christine has a stalker is reason enough for concern , of course , but the “definitive man” comes across as a more extreme version of antoine himself , or a more assertive version who says what antoine merely thinks and feels . antoine may also be wondering if he is , in fact , a “temporary person” ; at the very least , his job record would suggest as much . the encounter , brief as it is , casts a foreboding shadow over his future with christine . truffaut must have considered it important , because it was one of the few starting points that he gave revon and de givray , along with the title , the army material and the “oui , monsieur” incident .
beginning with
the 400 blows ,
director francois truffaut made a series of films about the impetuous antoine doinel , in which this is the last . antoine is now 30 , working as a proofreader and getting divorced from his his wife . it being the first
no - fault
divorce in france , a media circus erupts , dredging up antoine ' s past . indecisive about his new love with a store clerk , he impulsively takes off with an old flame .
antoine’s romantic exploits , meanwhile , lack the autobiographical directness of his doomed infatuation with colette — that is , truffaut’s doomed infatuation with liliane litvin — but the director’s busy love life must have provided plenty of material . “i may lack balzac’s genius , but my love life is just as complicated as his , the objects of my affection being either sixteen or forty years old , with a few ambiguous relationships between those 2 ages , ” he wrote to his friend robert lachenay in february 1951 , a line reminiscent of antoine’s dilemma with christine and the significantly older fabienne .
, a surprisingly action - packed remake with colin farrell . go watch the punching and the shooting and don ' t worry about it .
en esta entrega antoine está completamente perdido en su laberinto sentimental . tiene una relación con su ( sorpresa ) nuevo
amor
, sabine , y afronta su divorcio con christine , mientras ambos se debaten sobre si queda algo que salvar de su relación o no . colette , su
amor
de la segunda entrega , reaparecerá como una abogada colega del jurista…
the job is a funny , apt choice , giving truffaut an excuse to fill the film with unusual characters and narrative tangents , while serving to educate antoine in the ways of the world – specifically , the importance of finding somebody faithful when everybody has their hidden agendas . in fact , antoine already knows her : the lovely , tender - hearted christine darbon ( claude jade ) , a newcomer in the film but already immersed in an on - off relationship with antoine . it’s an interesting choice to give them a history , underlining the sense that antoine exists beyond the parameters of the screen , the continuation of a life witnessed as junctures but in fragments .
, he works for a japanese businessman and attempts to woo his daughter . they ' re good films , though i don ' t like them as much as antoine and colette , and i think their length has something to do with it . i ' m not sure that truffaut would be able to make a feature out of the plot of this short . it ' s so much a slice of life , a fleeting glimpse into the day - to - day of antoine as a young adult . aside from his ill - fated romance with colette , the film is much more about creating an overall atmosphere than focusing on a gripping plot . since it ' s hard to sustain a the slice - of - life atmosphere over a 90 minute feature , the latter three films in the series don ' t have the same effect as this short . for this reason , perhaps the series as a whole would have been stronger if truffaut had kept the last four films as shorts rather than features . all we really want is a glimpse into antoine ' s life to know that he ' s staying out of trouble ( though that ' s rarely the case with him ) , and that is all
stolen kisses was francois truffaut’s third exploration of the character antoine doinel , to whom we were introduced when he was a child in the 400 blows and was glimpsed a few years later in a short segment antoine and colette that was part of an omnibus film titled love at 20 . here we see antoine as a young man , as he stumbles into adulthood working a variety of unskilled entry - level jobs , impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world . the tone of this film is lighter , more overtly a romantic comedy , and seemingly inconsequential in terms of enduring substance and social commentary when compared to the 400 blows . it could have been easily plausible to make this same movie with a lead character of a different name , even if truffaut had still cast jean - pierre leaud as its star performer . leaud was by now a familiar representative of his emerging generation through his mid - 60s work with jean - luc godard , most notably masculin feminin , and seemed to have a unique ability to reference the restless , unsettled state of flux so common to people in their early twenties , both then and now .
love on the run , the conclusion to françois truffaut ' s antoine doinel series , is the first to approach the same bittersweet tone of the first entry . while it doesn ' t have the same energy and heart of the 400 blows , this movie provides a fitting
end
for the character of antoine by making him come to terms with his past for the first real time in these sequels . this means bringing back the characters important in his life , including his ex - wife , christine , and his first love , colette . they , along with his new lover sabine , all play important roles in this movie ' s introspective story . love on the run boils down the doinel character to the essentials and focuses on the intersection of the…