Non drammatizziamo... è solo questione di corna!
Director:
François TruffautGuión:
Bernard RevonCámara:
Néstor AlmendrosMúsica:
Antoine DuhamelReparto:
Jean-Pierre Léaud, Claude Jade, Hiroko Berghauer, Barbara Laage, Daniel Ceccaldi, Philippe Léotard, François Truffaut, Jacques Jouanneau, Pierre Maguelon (más)Streaming (1)
Sinopsis(1)
Aquí vemos a Doinel dos años después de Besos Robados. El personaje parece haber sentado cabeza y se ha casado, sentimentales. Antoine Doinel se ha casado con Christine, la chica que cortejaba en Besos Robados. Su mujer da clases de violín y él aprovecha el momento en el que se acaba la comida de la nevera para bajar al bar que hay debajo de su casa, donde se reúnen muchas personas del barrio. Pronto deja su improductivo oficio relacionado con las flores, para llegar, por una serie de equívocos, a una empresa estadounidense de miniaturas. Un día, mientras hace maniobrar un grupo de minúsculos barcos ante un grupo de clientes, una joven japonesa deja caer voluntariamente su pulsera... Es el comienzo de un idilio que pronto se transforma en una relación más profunda. Christine acaba por descubrir la verdad y, antes de montar una escena ante su marido, decide presentarse ante él vestida de japonesa. (Filmin)
(más)Videos (1)
Reseñas (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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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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Antoine and his troubles for the fourth time and 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 million times seen setting, and then, at the moment when he should capitalize on this effort, he does the exact opposite. The inevitable split trivializes, the reactions of individual actors border on caricature, and The Family Hearth is needlessly knocked down. And I don't understand it, because Truffaut never lacked detachment, I like that about him, but I like the sense of urgency even more. But he lost it here and only the first and last parts 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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