Stolen Kisses (Baisers Volés) 1968

Stolen Kisses

Critics Consensus

Stolen Kisses is a fine feature follow-up to The 400 Blows, transforming Antoine Doinel into a sympathetic, silly, and romantic figure that carries to the series' end.

96%

TOMATOMETER

Total Count: 27

89%

Audience Score

User Ratings: 6,208
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Stolen Kisses Photos

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Movie Info

The third in a series of films featuring François Truffaut's alter-ego, Antoine Doinel (Jean-Pierre Léaud), the story resumes with Antoine being discharged from military service. His sweetheart Christine's (Claude Jade) father lands Antoine a job as a security guard, which he promptly loses. Stumbling into a position assisting a private detective, Antoine falls for his employers' seductive wife, Fabienne (Delphine Seyrig), and finds that he must choose between the older woman and Christine.
  • Rating:
    R
  • Genre:
    drama, comedy
  • Original Language:
    French (France)
  • Director:
    François Truffaut
  • Producer:
    Marcel Berbert
  • Release Date (Theaters):
     wide
  • Release Date (Streaming):
  • Runtime:
  • Production Co:
    Les Films du Carrosse, Les Productions Artistes Associés
  • Sound Mix:
    Mono

Cast & Crew

Jean-Pierre Léaud
Antoine Doinel
Delphine Seyrig
Fabienne Tabard
Michaël Lonsdale
Georges Tabard
Claude Jade
Christine Darbon
Daniel Ceccaldi
Monsieur Darbon
Claire Duhamel
Madame Darbon
Catherine Lutz
Catherine
André Falcon
Monsieur Blady
François Truffaut
Director
François Truffaut
Writer
Claude de Givray
Writer
Bernard Revon
Writer
Marcel Berbert
Producer
Antoine Duhamel
Original Music
Charles Trenet
Non-Original Music
Denys Clerval
Cinematographer
Agnès Guillemot
Film Editor
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Critic Reviews for Stolen Kisses (Baisers Volés)

All Critics (27) | Top Critics (5) | Fresh (26) | Rotten (1)

View All Critic Reviews (27)

Audience Reviews for Stolen Kisses (Baisers Volés)

  • Jul 30, 2014
    If there was a director more suited for directing comedy as a part of the Nouvelle Vague ( love pronouncing that term), it was Truffaut. For the second time he directs comedy and employs Léaud in a feature length movie. Sure, we had Tati, but it is surprising, even for a Truffaut follower, how light-hearted this film progressively gets. It lacks a sense of consistency, and that's the point. It goes everywhere like a leaf in a tornado without caring about its course and yet remaining surprisingly charming. Jean-Pierre Léaud is the most underrated actor ever in my book and personal experience. Acting comes so naturally to him that one wonders the extent to which he is portraying himself, like some directors did in front of the camera in their obsessive, but undeniably stylish cameos. The whole array of anecdotes in the life of the protagonist, who once again likes to read Balzac, like some of the main characters in Truffaut's films (hadn't you noticed?), feels like improvisatory bliss for the sake of entertainment, and it even resorts to slapstick and "dumbness" humor in the vein of Mr. Hulot. Anyway, just watch this delight. A simple review for a simple film. Truffaut was, once again, finding his language, continuing Antoine Doniel's story for the fourth time. 81/100
    Edgar C Super Reviewer
  • Apr 23, 2011
    Truffaut's second best film of his career. Which just happens to be the second feature in the infamous Doinel series.
    Alex H Super Reviewer
  • Nov 01, 2009
    Francois Truffaut's third Antoine Doinel film has a happenstance feel of just dropping in to see what's new with our boy. He's freshly bounced out of the military, and is casually skipping from mediocre job to mediocre job without success. Meanwhile, he courts a past girlfriend, the stunningly photogenic Claude Jade. The light, episodic story doesn't have much of a point, and this frustrated me for awhile. But eventually, the film's romantic charm won me over. There are some surprisingly funny moments, and the gentle resolution surely influenced Woody Allen.
    Eric B Super Reviewer
  • May 15, 2009
    After following Antoine Doinel as a young boy in Les quatre cents coups and his désamours in L'amour à vingt ans, in Baisers Volés we see the life and lovers of an "akward" young man. Then it comes the great Domicile Conjugal where Antoine and Christine are married and where we see a kiss scene from Baiser Volés, and L'amour en fuite, the last film of this serie. You don't need to watch these films in order. Actually, it could be interesting to begin from the end and then back to the first one, to understand Antoine's life. <br> <br>
    Rubia Super Reviewer
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