Jean-Pierre Leaud, à nouveau dans son fameux rôle fétiche, peaufine son légendaire personnage qu'il interprète ici pour la seconde fois après sa prestation dans "Les 400 cents coups". Une rareté trop peu distribuée, projetée. Et une occasion de redécouvrir la valeur intangible de certains courts métrages... www.cinefiches.com
With a topic befitting the very nature of a short, Truffaut’s ode to Paris and “jeune amour” confides in choices of music, the medium itself a metaphor for love. Bach is heard when hopeful, Berlioz during magnetized infatuation and Delarue for sensual, premature heartbreak, accompanied with montage of picture stills, pinpointing false, fleeting happiness displaced by the seasons.
Truffaut gets at a beautiful sense of documentary with Leaud pressing records, carrying the entirety of his belongings through Parisian streets, his camera zooming to capture a more objective sense of how one only partially grasps a public space--here a music hall full of youths. Truffaut uses classical music very expressively here, punctuating Antoine & Colette's eye movements, Antoine trying to master space, fate.
Though not as beautiful in it's direction as 400 Blows, I slightly prefer this short but wonderful continuation of Antoine Doinel's life. It's more concise, captures a part of life that is rarely well portrayed (as opposed to the dozens of great films about childhood) and has a wonderful musicality in it's editing as showcased by the show stealing (pun intended) moment when Antoine first sees Colette.