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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.
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Critic 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.
All Critics (24) | Top Critics (4) | Fresh (23) | Rotten (1) | DVD (1)
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 persuasively charming comedy.
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.
Paris was never so beguiling.
Often improvised and frequently charming and witty, Truffaut's film engages with a sad, dramatic and funny storyline that while not action packed keeps its pace and remains a classic today.
Typically light fare from the master of French Lite
While Truffaut was fiddling with this trifle, the streets of Paris were burning with a student riot in May 1968.
As with all of Truffaut's great films, Baisers volés features an odd collection of minor characters and playful cinematic asides that present a complex view of the world.
A poignant portrait of sop-free love.
Despite some of the broadness of the comedy (one of the funniest scenes being Antoine's clearly inept attempt to tail a woman on the street), the film is tempered throughout by a series of lessons Antoine learns about the nature of the adult world.
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.
Super Reviewer
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.
Hilarious and romantic. Jean-Pierre Leaud IS Antoine Doinel Antoine Doinel Antoine Doinel Antoine Doinel Antoine Doinel...
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