Stolen Kisses

charming and shit

There's a lot of marvelous little sequences and mini-stories, like Antoine in front of the mirror, repeating the names of the two women he's torn between, or his comical failures at every job he tries. This is really a charming movie.

Charming, funny, and cool - everything the FNW should be. Leaud is perfect once again as Antoine Doinel and this is filmed so well. I love the scene with the mirror.

It's hard to explain why I loved this so much; perhaps it's because its direction was never entirely assured. Coupled with brilliant personal moments for our hero Antoine are instances of whimsy that simultaneously border on the fantastical as well as somehow affirm its realness. Antoine is eternally a great protagonist. It's essentially a cruel joke at this point how much he struggles in society, but at the same time it's profoundly symbolic of the fear of being an individual.

More enjoyable to me than the 400 Blows. So much I can identify with, and so much that is just silly, but in the best way possible. Doinel doesn't make the best spy, but it's certainly entertaining. The ending is one of my favorite scenes of all time.

Doinel/Léaud cuts a Chaplinesque figure in a film notable for its largely inconsequential content.

Outside of 400 Blows, I've never been completely sold on Truffaut. His influence on contemporary indie darlings like Wes Anderson and Baumbach is obvious, and his best films captured something interesting about the pain and beauty of frustrated youth, but there isn't much substance to them. Perhaps that's the point--they are charming and breezy slices of life shot at certain vantage points--but Doinel is just not that great a character to justify an ongoing series spanning three decades.

So Bored to Death basically got their premise from that scene where Antoine shadows that girl.

Antoine is still as sympathetic as he was in The 400 Blows and Antoine & Colette. This is the most comedic installment of the Doinel cycle, but it's not completely without melancholy as Antoine struggles to find his place in society. There are so many great scenes, like when Antoine indiscreetly shadows a woman down the street, that are filmed with such playfulness and grace. Claude Jade is beautiful and charming as Christine. This movie is just an absolute delight to watch.

charming, enjoyable, amusing...but also pretty insignificant. in fact a lot of truffaut films seem to be like that. it's okay, anyway.

I adore 'Day For Night', love 'The Soft Skin' and really like 'The 400 Blows', but this... This! Was not for me. I neither dug the humor nor warmed to its (attempted/alleged) charms.

Truffaut, the least distinctive but perhaps most innately likable filmmaker of the nouvelle vague?

The most fun you can have watching other people have fun... Antoine Doinel is the most accomplished character on film, period... Probably one of the funniest films made in the sixties... I know, my review makes no sense, neither does this film. See it...

This is pretty much exactly what I expect a Truffaut film to be, meaning light and lovely and cool and so so enjoyable. Jean-Pierre Leaud as Antoine Doinel is simply one of the best characters ever and his adventures in this film, from his short stint as a hotel clerk to a job as a detective, are ridiculously fun. There's a lot of great scenes in this film, from Antoine in the mirror to the archaic and creative French postal system. So far, this is my favorite Truffaut film.

Well-done comedy by François Truffaut. Unfortunately the story of the lost, unlucky guy did not touch me much. I did not like either numerous monologues and aged humour. Sorry Truff.

Touro.

Very nearly a polar opposite to "The 400 Blows", but every ounce just as good. I've had mostly negative encounters with Truffaut's work, but I've come to believe that he had a real good thing going with doinel. Don't look for any moving stuff here, but a nice light drama with a bunch of comedy mixed in, it has that in spades.

Georges Tabard: "Don't ever say Hitler was a housepainter. That's slander. Hitler painted landscapes."

A lot of pleasure to be had in this continuation of Doinel's struggles to orient himself in the world and conquer the mysteries of courtship, with an ending that undercuts the mostly light-hearted tenor of the film's proceedings.

Utterly charming in every way. Antoine screws up in pretty much every way imaginable, which leads to lots of funny moments. As always, Truffaut makes the romantic aspects of his films such a pleasure to watch.

delphine seyrig is a goddess.. dear god, how can a woman be this much classy and seductive.

Truffaut makes my heart melt.

87.00

87.000

I am sure that film is imprinted on the minds of many people through its "mirror" scene which is also my fav in the film. Moreover, its the film that gives a start to my Truffaut journey at the end of 2019. Better late than never.

Dionel is a dick, but there are some great scenes.

A disjointed but at times funny series of stories. Only the adorable Jean-Pierre Léaud saves this from being overtly silly, and without him it would fall apart.

?????????????

The cinematography is pathetic. Absolutely pathetic. I think I was too hard on this originally for some really really really bad (seriously, awful) cinematography. Truffaut has grown in my opinion as I've come to understand more of him. This film might have also suffered a rather unfair personal fate as I was watching it when I heard about my grandfather.

26 Temmuz 12 & filmin basindan beri dedektif oldugunu dusundugumuz adamin, sonlara dogru kiza askini itiraf etmesi ile dedektif degil bir stalker oldugunu anlariz. Iste filmin tum anlami bu son sahnede degisir; belki de ozel dedektiflik isnde tutunmaya cabalayan Doinel, insanlari isi icin degil, arzusu ugruna takip etmektedir. Her yeni isinde, cevresinde yeni bir kadina tutulur ya da zamanni fahiselerle gecirir cunku bu onun hayata tutunma seklidir; arzusunun pesinde dedektif gibi stalker olmak.

Don't really understand the fascination this film seeks to attract in viewers. Fractured, and rather boring at that.

Good Movie

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.

Instantly became one of my fav romances.

More Truffaut affectionate charm. I'm guessing these movies depend a lot on moods.

I was hoping that this would grow on me after 2nd watch -- but sadly no. It's perfectly acceptable light drama / comedy about futher exploits of Antoine Doinel but as a follow up to the wonderful 400 Blows it is underwhelming. I mostly enjoyed it as a window to 60's Paris.

I guess the idea is to depict the french youth of the 60s with its charming goofiness and aimlessness. But it didn't quite work for me. Maybe it's very meta and the film itself is made to embody them. Also, I found the camera works in the beginning close to a disaster then slightly better.