In this follow up to Les Quatre Cents Coups (The 400 Blows), Antoine Doinel (Jean-Pierre Leaud) is now aged 18 and working at Phillips packaging records. One day while attending a Berlioz concert, he falls head over heels for a beautiful young woman in the audience. After plucking up the courage to talk to Colette (Marie-France Pisier), they soon become good friends, but he is unable to admit his true feelings for her. His infatuation becomes so great that he moves into an apartment across the street from her so he can spy on her, but ultimately his possessiveness only ends up driving her into the arms of another.
This short originally appeared as part of the omnibus film Love At Twenty, which also included shorts by Renzo Rossellini, Shintaro Ishihara, Marcel Ophuls, and Andrzej Wajda. —New Wave Film
The product of an unhappy, loveless home, Truffaut began using films to escape the exigencies of reality at age seven, virtually living in various Parisian movie houses. He left school to go to work at 14, and, one year later, founded a film club, which brought him to the attention of influential cinema critic Andre Bazin. Over the next few years, Bazin both financed and protected Truffaut. In 1953, Bazin hired Truffaut as a critic/essayist for Cahiers du Cinema. It was in the January 1954 edition that Truffaut published his landmark essay “A Certain Tendency in the French Cinema,” in which he attacked directors who merely ground out films without any personal cinematic vision; he also propounded the auteur theory, which opined that the only directors worth serious consideration were those who left their own individual signatures on each of their films. Truffaut noted that writing critiques enabled him to understand why he loved films and to rationalize his reasons for liking them… read more
The last scene of this short subject is one of the most perfectly embarassing things I've ever scene in a movie. And the very last image is both depressing and hysterical. I laughed and cringed at the same time. Bravo, Truffaut.
“The drive went into the filmmaking, in an effort to render an image of that fleeting apparition known as human experience.”
This effective, miniature sequel to The 400 Blows, in which the delinquent Antoine Doinel is now a young adult earning a keep and living by his own means (concomitant with Léaud’s own age spurt in… read review