Reseñas de la crítica

Truffaut ends his film on an ambiguous note, with a stalker approaching Christine in Antoine's presence and declaring his "definitive" love for her, thus suggesting the tenuousness of Antoine's faithfulness that will come to fruition in Bed and Board and Love on the Run. Such a moment reminds us that, even in charming-humanist mode, this great French auteur couldn't help but disturb.

STOLEN KISSES, the most picaresque of the Doinel films, follows Leaud as he transitions from soldier to detective to television repairman; its beauty lies in the fact that, like Leaud and Truffaut's Doinel himself, it doesn't seem to know where it's headed until the last few minutes.

As with all of Truffaut's great films, Baisers volés features an odd collection of minor characters and playful cinematic asides that present a complex view of the world.

The mood in Stolen Kisses is lighter and more festive [than The 400 Blows], which reminds us once more that the French at their most felicitous are still the most civilized observers of the obsessiveness of love. Paris may no longer be the ooh-la-la capital of the world, but somewhere in its streets the idealism of love still shines—at least in the slyly sentimental world of François Truffaut, that poet of love's sweet pain and excruciating embarrassments.

One of Truffaut's best, lyrical and resonant in a way the later films in the cycle would not be.

This beautifully conceived and brilliantly acted film confirms Truffaut's high place in the French humanist tradition. He can stand the comparison with Renoir.