Stolen Kisses (Baisers Volés)1968
Stolen Kisses (Baisers Volés) (1968)
Stolen Kisses (Baisers Volés) Photos
as Antoine Doinel
as Christine's father
as Mme. Darbon
as Georges Tabard
as Mme. Colin
as Mme. Colin's Lover
as Manager of Show Shop
as Man at Garage
as Man at Garage
as M. Cohn
as Conjurer's Friend
as Hotel Manager
as Albert Tazzi
as M. Blady
as Mme. Catherine
as M. Henri
as M. Julien
as Colette Tazzi
as The Stranger
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Critic Reviews for Stolen Kisses (Baisers Volés)
One of Truffaut's best, lyrical and resonant in a way the later films in the cycle would not be.
The slice-of-life pic also has neat slices of observation, tasteful presentation and easeful acting that avoid banality.
A movie so full of love that to define it may make it sound like a religious experience, which, of course, it is -- but in a wonderfully unorthodox, cockeyed way.
The film wears its charm on its sleeve, which is probably as good a place as any to wear it: tender, hilarious, gracefully reticent.
Audience Reviews for Stolen Kisses (Baisers Volés)
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.
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.
Truffaut homages Henri Langlois, Laurel and Hardy. Hitchcock and Balzac, and brings back his alter ego, Antoine Doinel. Now at the doors of adulthood, he was kicked out from the army, and struggles to find a job, first as a night porter, shoe seller, tv repairing engineer and even as a private eye for a detective agency. But don't get confused, this is a pleasant, charming comedy, where all the sorrow and rebelliousness of his childhood is gone for good, and now his only concern is to win the heart of the girl he likes. Nostalgic stroll through the beautiful Paris, in company of a magnificent auteur who always knew how to gather the sweetest moments of life into a film; Jean-Pierre Léaud's likeable absent-mindedness; Claude Jade's natural beauty; and Charles Trenet's sweetest ballad.
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