Regie:
François TruffautScenario:
Bernard RevonCamera:
Néstor AlmendrosMuziek:
Antoine DuhamelActeurs:
Jean-Pierre Léaud, Claude Jade, Hiroko Berghauer, Barbara Laage, Daniel Ceccaldi, Philippe Léotard, François Truffaut, Jacques Jouanneau (meer)Samenvattingen(1)
Antoine Doinel is now 26. He married Christine, who teaches the violin. They will have a baby. In a new job, Antoine meets Kyoto, a Japanese woman and fells in love with her. They have a love affair. Christine discovers it and Antoine leaves the house... (officiële tekst van distribiteur)
Recensie (3)
Part four of a loose pentalogy. We return to the life of Antoine Doinel two years after the events depicted in Stolen Kisses. Now he is married to Christine and they are experiences the first problems and trials in their marriage. They live in a tenement block and are surrounded by very unusual neighbors. We get to see old friends and in the forefront we see this married couple arguing. The result is typically Truffaut with all the trimmings. The relaxed atmosphere at the beginning is great, but after Alphonse is born the tone of storytelling should have shifted to a more serious note, because this way the crisis that follows doesn’t seem so serious. There are just too many weak moments here for Truffaut, but then the always cute Claude Jade lifts the mood. In any case, this picture is great, despite several areas that I have objections to.
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Antoine and his troubles for the fourth time, in a version that could have been the best. In the first hour, he carefully works on outlining the family situation through credible everyday episodes, the main characters are scattered in the middle of a setting seen a million times already, and then, at the moment when he should capitalize on this effort, he does exactly the opposite. The inevitable split trivializes everything, the reactions of the individual actors border on caricature, and The Family Hearth is needlessly knocked down a peg. And I don't understand it, because Francois Truffaut was never lacking in detachment, I like that about him, but I like the sense of urgency even more. And yet he lost it here, which means that only the first and last installments of the Doinel series remain sufficiently serious. The three middle ones always suffer for being told in the structure of a genre joke, where the form, despite the strength of the material, outweighs the content.
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Since Stolen Kisses, François Truffaut's protagonist has aged several years, married, and fathered a child, but he has not matured. His emotional immaturity, which was sympathetic in Stolen Kisses, now seems ridiculous in Bed & Board. His boyish romanticism and enthusiasm for new things disqualify him in a situation where he should show responsibility and practicality in taking care of his family. This comically-themed story about the crisis of a marriage is also interesting in its depiction of life in a suburban apartment building with many interesting characters - Doinel's window leads to the courtyard, so the camera always has the opportunity to capture the micro-stories of the tenants and their small dramas. Overall impression: 75%.
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