In the sixties, army dudes weren't cool anymore; in their place, spies became the new symbol of masculinity and good morals. Truffaut reacts to the rise of 007 with a parody of sorts, James Bond the seductive womanizer replaced with Antoine Doinel the clumsy dreamer. But Antoine will never be Bond, and that's fine, because Antoine lives the adventures of a simple life that a spy can only watch from afar.
Often the term 'French comedy' is a contradiction in terms but this exception is truly wonderful. Droll in French; droll in English. Doinel is a hopeless popinjay but simultaneously endearing. The exquisite scene with Delphine Seyrig discussing the 'apparition' of a woman in a Balzac novel and the real thing is beautifully mirrored by the final utterly matter of fact declaration of romantic love by a stranger.
[More like 4.5] Amazing depiction of the mind of a generation of confused/abandoned/lost youth, in world that just started slowing down. The dialogues are giving so many information without being too direct and annoying, and still being funny. Jean-Pierre Leaud is believable as none other, still retaining his innocence as a person and as a character.
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.