The fourth installment in François Truffaut’s chronicle of the ardent, anachronistic Antoine Doinel, Bed and Board plunges his hapless creation once again into crisis. Expecting his first child and still struggling to find steady employment, Doinel (Jean-Pierre Léaud) involves himself in a relationship with a beautiful Japanese woman that threatens to destroy his marriage. Lightly comic, with a touch of the burlesque, Bed and Board is a bittersweet look at the travails of young married life and the fine line between adolescence and adulthood. —The Criterion Collection
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 lovesick tempos of Baisers volés continue to take shape as Doinel finds himself playing husband two years later in Domicile conjugal, only for his marriage to suddenly unravel after entering into a tryst with a Japanese woman. Truffaut’s cinematic cheek is, once again, just too cute, but all the more honed to a tee here, above and beyond past outings and leaving a colourful, quirky, frivolous and bubbly confection in its wake. Really delightful, and likely to foster goofy grins for much of its runtime.
My least favorite in the Antoine Doinel series.Works as a domestic comedy,with great chemistry between Jean Pierre Leaud and Claude Jade in some lovely scenes and fun dialogue. The affair with the Japanese woman just didn't ring true and,worse,was boring. The best scenes were in the neighborhood,with interesting likable characters.