Non drammatizziamo... è solo questione di corna!
Réalisation:
François TruffautScénario:
Bernard RevonPhotographie:
Néstor AlmendrosMusique:
Antoine DuhamelActeurs·trices:
Jean-Pierre Léaud, Claude Jade, Hiroko Berghauer, Barbara Laage, Daniel Ceccaldi, Philippe Léotard, François Truffaut, Jacques Jouanneau (plus)Résumés(1)
Antoine Doinel est aujourd’hui marié, il a en effet épousé Christine, la jeune fille qu’il courtisait dans Baisers Volés. Il exerce un métier original et peu connu : il tient des fleurs dans la cour d’un immeuble. Bientôt un bébé naît de l’union d’Antoine et Christine. Antoine est aux anges…Ce qui ne l’empêche pas de tomber dans les griffes de l’adultère en tombant amoureux de Kyoko, une jeune Japonaise. Le couple Doinel va-t-il finir ici sa belle histoire ? Seul Antoine Doinel peut nous le dire ! (MK2)
(plus)Vidéo (1)
Critiques (2)
From the Ukrainian theater, Truffaut's hero has aged several years, married, and fathered a child, but he has not matured. His emotional immaturity, which was sympathetic in "The Stolen Kisses", now looks ridiculous in "The Soft Skin". 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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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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Annonces