The third installment and second feature in Francois Truffaut’s “Antoine Doinel” series. While it simply isn’t fair to compare this to “The 400 Blows,” I was till taken off guard by how honestly great the film was. I wasn’t expecting anything bad, but not anything this good either. With age, Antoine’s world has somehow become more mischievous and fantastical.
So different in tone and theme from The 400 Blows that it's almost impossible to place this sequel on the same timeline—but then, the older you get, the more you realize that different parts of your life might as well have been shot by completely different directors. This comedy shows how willing Truffaut was to trade beauty/truth for charm. Then he ends by showing you that charm has a beauty and truth of its own.
Though a complete tonal shift from 400 Blows, this wonderful follow-up still manages to fit within that film's lineage due to it's similar disregard for plot and preference for characters and their lives. Leaud also truly shows his chops in here as he is truly likeable, funny while also a little pathetic as he stumbles around from one scene to another trying to balance sex and career on his odyssey to fall in love.
4 días de iniciado el rodaje de "Besos robados", Henri Langlois fue destituido de su cargo en la Cinemateca francesa. Fue así como Truffaut decidió darle un contexto de denuncia a su filme. Antoine Doinel y su educación sentimental es el protagonista principal, pero el contexto es de un descontento intelectual. Respecto al alter-ego, Truffaut otorga fantasías: el amorío con la mujer mayor y el amor correspondido.