A couple of years after Stolen Kisses, Léaud’s Doinel character is (somewhat) settled down, married to Christine and expecting a child, but he retains the comic insouciance and desperate inability to hold down a job that marks the character in the previous film (the earlier ones were more about his adolescence). There’s a sadness to his character now, as his age advances and he still dallies around in affairs (including with a Japanese women, which at least has the saving grace that I don’t have to lean too heavily on the ‘it was a film of its era’ excuse that’s so often required for such subject matters), and Truffaut livens it up with little visual gags like having Tati’s Monsieur Hulot character get on a metro train at one point. Léaud certainly is starting to become the character that he’s so recognisable as from much of his 70s and 80s work.
FILM REVIEW: Criterion Collection
Director François Truffaut; Writers Truffaut, Claude de Givray and Bernard Revon; Cinematographer Néstor Almendros; Starring Jean-Pierre Léaud, Claude Jade, Hiroko Matsumoto 松本裕子 [as Hiroko Berghauer]; Length 100 minutes.
Seen at home (DVD), London, Saturday 30 December 2017.