Antoine and Colette (Antoine et Colette)

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Antoine et Colette, which was originally made as an episode in the series L'Amour à vingt ans, was a sequel to Truffaut's The 400 Blows.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

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Critic Reviews for Antoine and Colette (Antoine et Colette)

All Critics (1) | Fresh (1)

Audience Reviews for Antoine and Colette (Antoine et Colette)

  • Aug 15, 2014
    <i>Antoine et Colette</i> 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 <i>L'amour à Vingt Ans</i> (1962), where the legendary directors Shintarô Ishihara, Marcel Ophüls, Renzo Rossellini and Andrzej Wajda also participated. As I will mention afterwards in my reviews of the Antoine Doinel series, there's a theory in both critics and fans claiming that as long as the Doinel series kept progressing, the overall tone of the film passed from resembling Truffaut's vision to Jean-Pierre Léaud's personality. Whether if that is true or not, or only partially, there is an evident evolution from a neorealist transition to a more playful and comedic aspect, where roles curiously began to exploit more properly the underrated acting talents of Léaud Out of the numerous affairs that Doinel had, Colette remains my favorite in both <i>Antoine et Colette</i> and <i>Love on the Run</i> (1979), including her cameo appearance in <i>Stolen Kisses</i> (1968). 32 minutes were enough to make her personality radiate style and tenderness, including her funny responses to the impositions of her parents. She's the smartest, and has the most interesting smile, and maybe the most interesting origins, given her attendance to concerts and conferences. I just wished her character had been explored more! Too bad we had to wait 17 years for that to happen in the worst film of the series. This is a giant leap of faith since <i>The 400 Blows</i> (1959), making of this one maybe the rarest direct sequel ever, but the Nouvelle Vague had also the liberty to experiment. From harsh childhood reality to romantic comedy featuring the music industry and domestic gags, this is a beautiful tribute to "love" during youth with one of the most captivating endings of the decade. 86/100
    Edgar C Super Reviewer
  • Mar 30, 2011
    Truffaut's genius shines, in one of the greatest if not the greatest short film of all time.
    Alex H Super Reviewer

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