Truffaut and the Romantic Doinel It turns out that François Truffaut has a whole almanac of the life of Antoine Doinel in six epics. It all began with Four Strikes (1959) to guide the viewer through the full life of the hero to Escaped Love (1979). Sometimes autobiographically shows the life of the composer of the film Antoine Doinel, embodied on the screen by Jean-Pierre Leo.
Truffaut's simple camera plan gives eroticism. In the 1970s, a certain manner of shooting was developed (related to the 16 mm film, and with color refraction), so the emphasis on the legs of Claude Jade (Tarantino entered the chat) the director determines the style of the entire film. I am glad that the main role is also given to Jean-Pierre Leo. Since the “Four hundred beats” actor noticeably matured, but teenage light in the eyes reveals potential.
The film is a passive contrast. The aesthetics of old France: furniture, interior, small streets, a large industrial company. It seems that the details are given special attention, against which we are faced with the complexities of the family life of Antoine and Christine. The behavior of the characters in the apartment is not at all like the usual American etiquette, despite the message of eroticism, the director beautifully bypasses the topic of intimacy, and given how the story will unfold further, this contrast has a positive effect on viewing.
Initial love and joy are accompanied by interesting remarks, relationships with others and neighbors. Neighbors here serve as well-established society, while Antoine and Christine only build their lives together. The monotonous actions of passers-by, the repeated requests and movements of neighbors become boring, while demonstrating the changes of Antoine. It is pleasant and comedic for us to get a job, a lot of workload, as well as romantic interest. While Christine from his "prisonment" follows the path of motherhood and prepare for replenishment in the family.
Various views and arguments carry characters through disruptive events to convey a key moment in preserving the family hearth. Perhaps the problem of postpartum depression in women, as well as the inability to meet the physiological needs of a man, but it fits perfectly with the way the film is told. We see attempts to get away from the problem, to find entertainment, only to not lose the former excitement, which is accompanied by the disclosure of neighbors, and intrigues on the side, and the search for their place. But the main thing that the director saves to the last frame is to go through quarrels and quarrels – a person chosen by the heart.
The picture explains that people go through the burdens of their conscience, look for an easy way out of a difficult situation and overstep loyalty for fleeting satisfactions. But it is worth listening to your soulmate, to allow a person to be himself, especially in a difficult moment, and not to run in search of consolation.
An interesting work of Truffaut, which much more conveys the cultural component of secondary characters and atmosphere, giving rise to the viewer of the complexity of family life and the search for the right actions. Perfect husbands, of course, exist, it is useless to justify Antoine, but the film shows that awareness of actions and the right choice of actions is possible only with experience.
A beautiful representation of life in the era of accelerated industrialization of France and the “new wave” of cinema.