In Paris at the beginning of the 20th century, Claude Roc, a young middle-class Frenchman, meets Ann Brown, a young Englishwoman. They become friends and Ann invites him to spend holidays at the house where she lives with her mother and her sister Muriel, for whom she intends Claude. During these holidays, Claude, Ann and Muriel become very close and he gradually falls in love with Muriel. But both families lay down a one-year-long separation without any contact before agreeing to the marriage. So Claude goes back to Paris when he has many love affairs before sending Muriel a break-off letter… —IMDb
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
Liked it better than Jules et Jim. Plus Jean-Pierre Leaud's wardrobe is exceptional.
Adapted from Roché, whose work provided Jules et Jim, is this, another sometimes listless but charming, melancholy, restrained love triangle, now with two English girls (les deux anglaises) and one Frenchman (Léaud, dubbed ‘le continent’). The cues are Truffaut all over, Jean-Pierre being as casually deadpan too (“You can be my breakfast”). And with Claude Miller on production, Almendros shooting through his scenic lens on the Welsh coast and Delerue’s gorgeous music, the thoughtful period setting fortifies its enchantment.
Kubrick has "Fear and Desire", Coppola "Dementia 13" and Truffaut this thing... Some time it's just impossible to comprehend why some movies were made... At least Coppola and Kubrick had their excuse, it was their first one... But Truffaut... why? PS: And no, I didn't forget about "Jack" by Coppola... I guess he needed money, loads of money.