Antoine Doinel strikes again! In the final chapter of François Truffaut’s saga, we find Doinel (Jean-Pierre Léaud), now in his thirties, convivially concluding his marriage, enjoying moderate success as a novelist, and clinging to his romantic fantasies. The newly single Doinel finds a new object of his affections in Sabine, a record store salesgirl whom he pursues with the fervid belief that without love, one is nothing. Along the way, he renews his acquaintance with previous loves and confronts his own chaotic past. In Love on the Run, Antoine Doinel is still in love and because he’s still in love, he’s still alive. —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
Always get watery eyed at the ending. You just feel like you grew up the man.
i needed the subtitles to understand correctly the movie but italian subtitles don't follow the dialogues
It's taken me a long time to appreciate the Doinel films after the 400 Blows, but am now glad that I re watched them. There is a very special movie magic that is just so unique to this series. It's disheartening, and yet realistic that Doinel never manages to grow up. And this is treated with such lightness that one can't help but feel great respect for Truffaut's wonderful and balanced signature style. These films are now amongst my very favorites.
Having completed Truffaut’s Doinel cycle, we’ve progressed from a powerful portrait of childhood cruelty in “The 400 Blows” to the affable, adequate romance of “Love on the Run.” “Love” is hindered… read review