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Very very predictable, including the post credit scene !!!

Such a frustrating disappointment

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

By the time the dramatic fireworks start popping off, each one feels earned.

Review In A Nutshell:Stolen Kisses is about a young man who was discharged from the army due to constantly being absent without permission, and has first taken up a job as a night watchmen before eventually delving into the profession of a private detective.It was truly stupid of me to start off with this film, as I have found out after watching the film that this is the third film of a trilogy that started with The 400 Blows about the character, Antoine Doinel. This is the main reason why I felt kind of slightly detached with the character and not comprehensively understand the intentions that Truffaut was trying to push with this film. Luckily though, I still was able to enjoy this film as I found the protagonist and the adventures he goes on, to be highly fun and quirky. I loved watching him attempting to succeed in areas that are clearly not meant for him, and at the same time watch him becoming distracted by the women in his life, and how they affect his "career". The most interesting was definitely the relationship between him and Catherine, as they both don't seem to agree on their current feelings for one another that it becomes complicated to have things run smoothly for them. Truffaut doesn't romanticize the relationship though; he keeps it highly respectable but still retains that sense of quirkiness, which I also found in the previous film I have seen from the director, Jules and Jim. As I have said, the film's protagonist came off intriguing as Truffaut handled it in a very interesting way, and definitely someone I would love to explore more deeply.One can justify that this film is a romantic comedy as those elements are definitely clear when watching this film, but I personally felt like there was more to it than just that. I felt that the film was trying to say something about "useless" men that have been ejected from the army, to show us how difficult it is to make a living for yourself and to feel incompetent to society, but it feels buried deep into the film that could be easily accessed if one has seen the two films that preceded this. The film also explores the idea of obsession, though not as dire as what Hitchcock presented in Vertigo, but in a comedic and slightly more realistic kind of way. I am not sure whether or not Truffaut was conscious when he has made the reference, but I do see some of the resemblance, then again this may just be me. Nevertheless, these themes don't interfere with the tone and style that Truffaut was going for, and can still be enjoyed at a superficial level.The film's camera work was satisfying, creating that light and comedic mood that makes the film feel easily accessible and digestible. There were times, particularly during the shots that capture Antoine walking around the streets of Paris, where the filmmakers are trying to suggest that sense of monitoring; like as if someone is watching your every move. Even by the end of the film, a character who suddenly reveals he to be a watcher has shown us that one can't truly be safe. The film's score was quite pleasant to listen to, particularly the opening track as it creates this warm, sweet feeling that I haven't felt about in a song played during a film for a very long time. The orchestral score on the other hand plays out the same feelings in me as the opening track, light and sweet, doesn't try to play with your emotions but instead highlights the personality of the characters and the comedic tone of the film. One can't help but grin a little when little moments happen in the film and some of the commendation belongs to the film's music.The acting in this film was wonderful, boasting a strong performance from Jean-Pierre Leaud. He played his character with such ease, that I can't help but feel impressed, as other actors who play characters like this try to come off as quirky and funny but end up either overwhelming or underwhelming in their performance. Leaud was able to incorporate comedy in almost all areas of his performance, physical and verbal, with some showing subtlety while others are plain obvious, but the lack of subtlety in some of his physical performance doesn't hurt his performance in the film, at times it actually makes it funnier that he has shown such commitment in making his movements look and feel hilarious. This is primarily Leaud's film so the other actors were only present to support our perceptions of the character, so I would leave my critique for the other actors in my second viewing of the film.Stolen Kisses is a delightful film from Truffaut that definitely would have benefited me if I have seen the films that preceded it.

"Stolen Kisses" is about Antoine Doinel (Jean-Pierre Leaud, in an exquisite performance), part of a three-film cycle about this young man who is trying to figure out life, love, and where and with whom he belongs.In the beginning of the film, Antoine is dishonorably discharged from the army and thus his job hunt begins. He's really not very good as a gift-wrapper, or as the night watchman at a hotel, or as a private detective. The detective job takes up most of the film. He is dispatched to work undercover in a shoe shop to find out why nobody likes the boss. He falls head over heels for the boss' stunningly beautiful wife Fabienne. We also see Antoine dealing with his on-again, off-again relationship with his girlfriend Christine, who wants him when he doesn't want her, and vice versa. Accompanied by a beautiful music score and set in '60s Paris, "Stolen Kisses" is a whimsical, sometimes cynical film about different levels of love (often existing in one relationship), the search for self, and for loving the unattainable. The follow-up is "Bed and Board."

A dweeb who lacks charisma gets dishonorably discharged from the army, and then goes through a series of different jobs and women. This is as much plot as you'll get in this typical French (read = European) drama without a plot or a real point.But hang on. After finishing the movie, I was informed by various movie catalogs that this is a comedy. Comedy?!! Leonard Maltin calls this an "alternately touching and hilarious film". Touching and hilarious? What movie was he watching??? I tell you, there is absolutely NOTHING touching about this movie. The movie is emotionally uninvolving. And there wasn't one funny moment in the entire picture – unless you consider French humour funny. In fact, French humour is so unfunny that it is difficult for the non-connoisseur to even identify which bits are supposed to be funny. Maltin was probably referring, for example, to the early scene when an elderly detective catches a customer's wife cheating on him with another man. Is this supposed to be funny? Good Lord, if this is funny what isn't? It's a badly-directed scene with bad acting, absurd reactions by the characters, haphazardly put together. And that's funny… Maltin further "informs" us that the dweeb is "inept but likable". Likable?! This man is so charismatic he makes the likes of Kyle MacLachlan seem like Sean Connery of Clark Gable by comparison. In another movie catalog I am informed that the dweeb is more-or-less Truffaut himself, i.e. the movie is autobiographical. Fair enough. If Truffaut was a dweeb, that's his problem. I am also informed by BOTH reviews that this movie is considered as Truffaut's best by many!!!!!!!!!!!!!! What are his other movies like then… Don't get me wrong. The movie is by no means a disaster. It is watchable, which is the most important thing, and the photography is solid. But there is nothing here that will make you laugh (unless you laugh at other French films), and there is certainly nothing touching here. The dweeb sleeps with prostitutes, falls in "love" easily, flirts for years with a girl who is probably frigid and played by an actress who is probably even less interesting than he is. A stone-faced actress. Which brings me to the acting. Some of the cast aren't particularly good. And Truffaut, the "great director", occasionally offers us scenes that are, for want of a better word, "off". There is clumsiness in the editing, and clumsiness in scenes with many characters.If you could just forget that this was done by one of the supposed "greats of cinema", and watch this without knowing anything about the movie, you'd have to be lying if you thought this was anything but an average movie.By the way, Maltin also calls this "one of the best treatments of young love ever put on the screen". This comes from a man who thinks that "Teenage Caveman" is a better movie than "Blade Runner". 'Nuff said.(Sick and tired of bad European dramas? Email me, and I'll send you my altered subtitles for various Bergman films, plus "Der Untergang".)

As soon as "Stolen Kisses" begins, it makes a claim to being one of the most charming movies of all time. There's a lilting French jazz song on the soundtrack and a shot of the Eiffel Tower against a blue sky—a perfect introduction to this comedy about the crazy things people do for love. It's a gentle, loosely structured movie, sometimes farcical and always sweet-natured.Main character Antoine Doinel (Jean-Pierre Léaud, of course) is now in his early twenties and has a job at a private detective agency whose clients tend to be jealous or broken-hearted lovers. His own love life isn't in much better shape, though: he has an on-and-off relationship with a cute violin student named Christine (Claude Jade), but with many distractions along the way. The most important is Fabienne Tabard (Delphine Seyrig), the beautiful, elegant wife of a shoe-store owner (played by a very droll Michel Lonsdale) who has hired the detective agency to investigate why nobody loves him.Though the tone of this movie is very different from that of its excellent predecessor "The 400 Blows," that's not a bad thing. It's nice to know that Antoine can make a generally respectable life for himself, rather than becoming embittered or hardened from his experiences as a juvenile delinquent. He's acquired a sense of humor that helps him get through tough situations—he doesn't get angry when the army gives him a dishonorable discharge, he grins! But enough traces of the old "400 Blows" Antoine remain to let us know it's the same character: the haplessness, the intensity, the love of Balzac. Léaud's performance is extremely winning--how nice that the child actor has turned into a leading man with a talent for comedy.The ending of "Stolen Kisses" is a little abrupt and undermotivated: we never learn why Christine decides she wants Antoine back, nor why Antoine realizes that Christine is "the one." But these kind of quibbles seem mean-spirited—really, could this charming romance end any other way than with the two lovers strolling through a park, accompanied by that same nostalgic jazz song?